EARLY MUSIC HISTORY最新文献

{"title":"Sean Gallagher, Johannes Regis . Collection ‘Épitome musical’. Turnhout: Brepols Publishers, 2010. xii+249 pp.","authors":"D. Fallows","doi":"10.1017/S026112791200006X","DOIUrl":"https://doi.org/10.1017/S026112791200006X","url":null,"abstract":"Sean Gallagher states that this is ‘to my knowledge, the first book on a medieval or renaissance composer to include recordings of his complete works’. He is too diffident. They are not just recordings but two newly prepared CDs by no less an ensemble than the Clerks’ Group under Edward Wickham. Surely, the musicians who have recorded all Ockeghem’s sacred music with such eloquence are the best-equipped people, world-wide, to make sense of Regis’s often wayward and always unpredictable polyphony. The CDs are conveniently accommodated in sachets inside the front and back coverboards of the book. (They are, of course, the same CDs that were issued two years earlier in a strikingly elegant box-case by Musique en Wallonie; and probably few readers of these lines will need telling that the figure behind both this and the series ‘Épitome musical’ is the indefatigable Philippe Vendrix – whose efforts here merit a serious salute.) In addition, though, Gallagher prepared new editions of all the music and supervised all the recording sessions. He is of course no newcomer to the topic. His various publications on Regis reach back to 1996 and have been coming out regularly since then. Nevertheless, the experience of those recordings with those particular musicians plainly shows in the book. Profusely equipped with musical examples and references to particular passages on the recordings, his chapters on the music are packed with detailed observations of a kind that could not have happened without that background. Beyond that, the very difficult Latin texts have been given ‘the treatment’ by Leofranc Holford-Strevens, who has been providing that service for musical texts of the fifteenth century for the past twenty years. The full details of what Holford-Strevens has done to them, and why, will appear elsewhere in a separate article, but the upshot of his investigations is clearly stated here (pp. 181–2). Heinz-Jürgen Winkler in his 1999 monograph described the Regis motet texts in the Chigi Codex as korrupt überliefert, which is true; but they are also very badly written by an author with a weak grasp of Latin prosody and grammar. Gallagher reports that ‘even when one allows for problems of transmission, [they] are awkward, overly ambitious attempts at quantitative verse, riddled with errors of various kinds’. He also hints that they may be by Regis himself, who could have been trying to emulate Du Fay’s fluent Latinism. Reviews","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"279 - 285"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791200006X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A GENTLEMAN IN EXILE: LIFE AND BACKGROUND OF THE COMPOSER JOHN RAVENSCROFT","authors":"P. Barbieri, M. Talbot","doi":"10.1017/S0261127912000034","DOIUrl":"https://doi.org/10.1017/S0261127912000034","url":null,"abstract":"John Ravenscroft (1664/5–1697) is today best known for the fact that in 1695 he published a set of church sonatas that closely imitate Corelli in their style. The discourse around Ravenscroft has ever since focused on these twelve sonatas and the significance of their relationship to their illustrious model, to the exclusion of a later set of sonatas of different kind but equal merit. Ravenscroft's fascinating and unusual biography has likewise been totally ignored. The article examines the background of his distinguished, Catholic-leaning family in England during a long, turbulent period when Catholics were severely disadvantaged and his short but productive period spent in Rome, aided by newly discovered archival documents and a rich variety of other sources, both old and more recent, most of which have previously been overlooked by music historians.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"3 - 35"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000034","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"John Cunningham, The Consort Music of William Lawes 1602–1645 . Woodbridge: The Boydell Press, 2010. xxiv+350 pp. ISBN 978-0-954-68097-8.","authors":"Jonathan P. Wainwright","doi":"10.1017/S0261127912000125","DOIUrl":"https://doi.org/10.1017/S0261127912000125","url":null,"abstract":"but it would have been so good to have a copy of the music with the coherent Cambrai text, certainly copied long after Regis’s death but at least copied at Cambrai Cathedral, no great distance from Soignies and indeed the cathedral church of that diocese. There are some editing problems, to be sure; and there is one chunk of text that is in entirely the wrong place. But the upshot looks a lot more sensible, so it is a pity that Gallagher neither printed it nor included it in the recording. But that of course brings us back to the matter of editions. It looks as though in most other cases Gallagher now has all the material together for a new edition of Regis. It would be so great if he could provide this.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"285 - 290"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000125","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"AMAZONS FROM MADRID TO VIENNA, BY WAY OF ITALY: THE CIRCULATION OF A SPANISH TEXT AND THE DEFINITION OF AN IMAGINARY","authors":"A. Garavaglia, Katherine Kamal","doi":"10.1017/S0261127912000046","DOIUrl":"https://doi.org/10.1017/S0261127912000046","url":null,"abstract":"The fascinating phenomenon of the migration of theatrical subjects between literary genres, languages and countries is enriched through a new example discussed in this article. A handwritten libretto compiled in Rome for the court of Vienna, La simpatia nell'odio, overo Le amazoni amanti by Giovanni Pietro Monesio (1664), was discovered to be a faithful translation of the Spanish play Las Amazonas by Antonio de Solís (1657), hitherto known as the basis of a much later libretto, Caduta del regno delle Amazzoni, by Domenico De Totis (1690), set by Bernardo Pasquini. Monesio's libretto not only allows us to reconstruct the manner and time of the European circulation of a Spanish subject (from Madrid to Rome, to Vienna and Naples), but also to shed light on wider cultural aspects. First of all, it increases the number of librettos closely based on Spanish plays, of which so far only a few examples by Giulio Rospigliosi were known. Secondly, it provides further proof of the hypotheticised Spanish influence on the fortune of the Amazons in Italian opera and confirmation that its first appearance was beyond the Alps rather than in Italy. Finally, in the context of the the Habsburg Viennese court, the success of the Amazons seems to be linked to the political need to create a strong symbolic association between the ‘discourse’ on the virago and the legitimation of female power.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"189 - 233"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000046","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EMH volume 31 Cover and Back matter","authors":"","doi":"10.1017/s0261127912000113","DOIUrl":"https://doi.org/10.1017/s0261127912000113","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127912000113","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438014","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Elizabeth Eva Leach, Guillaume de Machaut: Secretary, Poet, Musician. Ithaca and London: Cornell University Press, 2011. xv+367 pp.","authors":"Anna Zayaruznaya","doi":"10.1017/S0261127912000083","DOIUrl":"https://doi.org/10.1017/S0261127912000083","url":null,"abstract":"Elizabeth Eva Leach’s new book was not out yet when I was planning a Spring 2011 seminar on Machaut, so I let its title guide me. Guillaume de Machaut: Secretary, Poet, Musician was obviously the monograph that finally brought Machaut’s life and works into accord – one that explained the importance of his time as a court official to his music and poetry. I therefore put it on the syllabus for ‘Life and Works’ day under the provocative (I hoped) question ‘Does biography matter?’ It was a rookie mistake. Leach’s new book is not a ‘life and works’ study at all. Though it concerns itself with both Machaut’s life and his musico-poetic output, it does so sequentially, placing much more emphasis on the latter. After the first chapter, which brings together all the surviving evidence of the historical Machaut that does not come from his own poetry, the ‘real’ Machaut is treated as much as a symbol as an actuality. His body serves as a metaphor for his oeuvre, the dismemberment of which by modern disciplinarity is the focus of chapter 2. After this the core section of the book explores a series of multivalent themes – ‘Creation’, ‘Hope’, ‘Fortune’ and ‘Death’ – with regard to their manifestation in Machaut’s output, both musical and poetic. The result is that Machaut is ‘re-membered’ even as he is ‘remembered’. In the lucid chapter 1 (‘Life: Guillaume de Machaut’s Living’) Leach brings together the surviving information about Machaut that hails from sources external to his poetic works. Such an undertaking is necessitated by the shaky hold of truth in his dits (long narrative poems). The famous ‘Voir dit’ (‘True Story’ or ‘True Fiction’) is a case in point: the poem often refers to real persons and places, teems with scintillating details about Machaut’s habits of book-making, and records impressive statements about the worth of his musical compositions. The narrator is even named Guillaume. But Guillaume also meets Hope in a field while walking, and","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"263 - 278"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000083","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FORS SEULEMENT L'ACTENTE QUE JE MEURE: OCKEGHEM'S RONDEAU AND THE GENDERED RHETORIC OF GRIEF","authors":"Vincenzo Borghetti, Stephen Bemrose","doi":"10.1017/S0261127912000058","DOIUrl":"https://doi.org/10.1017/S0261127912000058","url":null,"abstract":"Fors seulement is among Johannes Ockeghem's most extensively discussed chansons. A much debated feature of this rondeau is that its two upper voices span almost the same high register. Sources disagree over which of these voices is the tenor: earlier and authoritative manuscripts assign this role to the uppermost voice, while later ones ‘normalise’ the disposition by giving it to the slightly lower one. Apart from a few passing remarks, musicologists have not taken into sufficient consideration that the text of Fors seulement, the lament of a woman, is modelled upon Alain Chartier's Complainte on the death of his lady, as Paula Higgins has demonstrated. This article focuses on the transformation of the rhetoric of grief from male Complainte to female rondeau, and considers anew the issue of Fors seulement's unique contrapuntal structure and its troubled reception from the point of view of the peculiarly gendered nature of its poetic voice.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"37 - 85"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000058","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"EMH volume 31 Cover and Front matter","authors":"","doi":"10.1017/s0261127912000101","DOIUrl":"https://doi.org/10.1017/s0261127912000101","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"f1 - f5"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127912000101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"GENDER AND THE POLITICS OF MUSIC IN THE EARLY ISLAMIC COURTS","authors":"Lisa Nielson","doi":"10.1017/S0261127912000010","DOIUrl":"https://doi.org/10.1017/S0261127912000010","url":null,"abstract":"Until the ninth century, the role of the professional musician in pre-Islamic Arabia and Mesopotamia was primarily fulfilled by women. Men were socially prohibited from working as musicians, though some transgressed gender and social boundaries by adopting feminine dress and playing ‘women's’ instruments. With the advent of Islam, patronage of qiyān (singing girls), mukhannathūn (effeminates) and later, male musicians, did not substantially change. During the early Abbasid era (750–950 ce), however, their collective visibility in court entertainments was among several factors leading to debates regarding the legal position of music in Islam. The arguments for and against took place in the realm of politics and interpretation of religious law yet the influence of traditional expectations for gendered musical performance that had existed on the cultural landscape for millennia also contributed to the formation of a musical semiotics used by both sides. In this article, I examine the representation of musicians in the early Islamic court in Baghdad from the perspective of select ninth-century Arabic texts. First, I begin with a summary of the gender roles and performance expectations for pre-Islamic court musicians and point to their continuation into the early Islamic courts. Then, I suggest how the figure of the musician became a key referent in the development of a musical semiotics used in medieval Islamic music discourse.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"235 - 261"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MUSIC, PESTILENCE AND TWO SETTINGS OF O BEATE SEBASTIANE","authors":"Remi Chiu","doi":"10.1017/S0261127912000022","DOIUrl":"https://doi.org/10.1017/S0261127912000022","url":null,"abstract":"This essay examines the role of music in the late-medieval and Renaissance response to plague. According to doctors, the mere thought of plague could bring on the disease; they therefore prescribed joyful music to distract the mind from insidious imaginings and to counteract the harmful effects of fear. The prescription for music, however, was not unequivocal. Some spiritual authorities looked suspiciously upon music's role as anti-pestilential remedy. These competing discourses inform a reading of Johannes Martini's and Gaspar van Weerbeke's settings of O beate Sebastiane, motets that petition St Sebastian, the premier plague saint of the Renaissance, for divine intervention against pestilence.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"31 1","pages":"153 - 188"},"PeriodicalIF":0.3,"publicationDate":"2012-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127912000022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}