{"title":"THINKING LIKE A GUITARIST IN SEVENTEENTH-CENTURY ITALY","authors":"C. Gavito","doi":"10.1017/S026112792000011X","DOIUrl":"https://doi.org/10.1017/S026112792000011X","url":null,"abstract":"Placing amateur performers and their instrument of choice at the forefront of inquiry, this article makes a case for the Spanish guitar as an instrument through which knowing subjects sought an epistemology of musical practice, a way-of-knowing-and-doing that could even surpass other musical epistemologies already in circulation during the seventeenth century. Leading this investigation is a handwritten book of lessons wherein there emerges a preference for learning the violin using the principles of guitar playing. Next, I discuss the appearance of annotated guitar tablature in the copy of Giulio Caccini’s Le nuove musiche held in the Library of Congress, which edits Caccini’s songs to purpose their accompaniments for easier guitar playing. Together, these two documents reveal earnest attempts at being musical with a guitar in the hands or guitar playing in the mind, opening us to a world-view that hinges on the guitar as the locus of musical knowledge.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"37 - 84"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47442186","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":"JEAN DES MURS AND THE RETURN TO BOETHIUS ON MUSIC","authors":"J. Crossley, C. Mews, C. Williams","doi":"10.1017/S0261127921000012","DOIUrl":"https://doi.org/10.1017/S0261127921000012","url":null,"abstract":"The Musica speculativa of Jean des Murs played a key role in renewing interest in the teaching of Boethius in the fourteenth century. We argue that this treatise is much more than a summary of the Boethian De institutione musica in presenting its core teachings as fully consistent within an Aristotelian theory of knowledge. Two versions of its prologue (1323 and 1325 respectively) are examined together with their relationship to Jean’s Notitia artis musicae (1321) and the innovative significance of its mathematical-style presentation of the teaching of Boethius about proportions with its appeal to clear diagrams. We aim to guide the modern reader through the thought patterns and diagrams of Jean des Murs, demonstrating why the Musica speculativa was so widely studied in the later Middle Ages. The two different prologues are presented in English translation for the first time.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"1 - 36"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47963736","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":"Stephen Rose, Musical Authorship from Schütz to Bach. Cambridge: Cambridge University Press, 2019. XVI + 243 pp. ISBN 978-1-108-42107-2.","authors":"David Lee","doi":"10.1017/S026112792100005X","DOIUrl":"https://doi.org/10.1017/S026112792100005X","url":null,"abstract":"enduring fascination with specialised and particular local histories. Put bluntly: why might anyone read a whole book about a community of long-deceased canons in a small European town? I’m not sure Kirkman has the most persuasive answers to offer here. For me the book gives a little too much weight in this regard to rhetorical gestures: seeing through windows to distant pasts (p. 3) or hearing distant echoes (p. 276), finding ‘patterns of interaction that are essentially timeless and : : : timelessly absorbing’ (p. 4), or, perhaps most difficult of all, his evocation of walking into the collegiate church as ‘com[ing] home’ (p. 21). Our desire for the past is something that is always time-full, located in our particular histories, and we do need to reflect in depth, moving beyond the antiquarian, if we are to understand the problems surrounding those desires (for home – but what is home?) and the possibilities for future action and engagement in the world that our scholarship promotes.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"299 - 307"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46731163","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 40 Cover and Back matter","authors":"","doi":"10.1017/s0261127921000073","DOIUrl":"https://doi.org/10.1017/s0261127921000073","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46999748","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":"TROUVER ET PARTIR: THE MEANING OF STRUCTURE IN THE OLD FRENCH JEU-PARTI","authors":"Joseph W Mason","doi":"10.1017/S0261127921000024","DOIUrl":"https://doi.org/10.1017/S0261127921000024","url":null,"abstract":"In their songs, trouvères referred to their own acts of composition in various ways, not least as ‘finding’ (trouver) or ‘dividing’ (partir). Both terms had a wide and varied usage in medieval French culture and carried meanings that shape the way that the melodic structure of trouvère songs might be analysed. Invention, and its sister art of memory, played a key role in rhetorical practices. The process of ‘finding’ a melody and adorning it with memorable musical figures is performed in the structure of some songs. Division was used for intellectual work, as found in the classificatory models of medieval encyclopedic works, but it also signified socio-political animosity and strife. Through close readings of text–music relationships in four jeux-partis, the cultural significance of the musical acts of invention and division in thirteenth-century Arras is assessed in order to explore why trouvères performed acts of invention and division through their songs.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"207 - 251"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45121037","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":"UNCOVERING THE DOUAI FRAGMENT: COMPOSING POLYPHONY AND ENCODING A COMPOSER IN THE LATE FOURTEENTH CENTURY","authors":"Manon Louviot","doi":"10.1017/S0261127920000121","DOIUrl":"https://doi.org/10.1017/S0261127920000121","url":null,"abstract":"Douai, Bibliothèque Marceline Desbordes-Valmore, MS 1105/3 fragment 74.4/1 is a musical fragment from the second half of the fourteenth century, composed of two bifolios copied in black mensural notation. It not only contains a concordance for Multipliciter amando, a motet that, until now, has only survived in the famous Chantilly manuscript, but also four unica (another complete motet, two incomplete ones and a three-voice Gloria). After presenting a codicological overview of the fragment, I analyse distinctive features of each of the three complete pieces, based on the first modern transcription of the source. Special attention is given to the motet Ferre solet, which, by way of literary encoding mechanisms, reveals its composer’s name (Frater Johannes Vavassoris) and its precise date of composition (1373), making these four folios a crucial witness for understanding fourteenth-century musical culture.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"85 - 166"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46333559","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 39 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127920000108","DOIUrl":"https://doi.org/10.1017/s0261127920000108","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440167","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":"REMAKING A MOTET: HOW AND WHEN JOSQUIN’S AVE MARIA … VIRGO SERENA BECAME THE AVE MARIA","authors":"Clare Bokulich","doi":"10.1017/S0261127920000017","DOIUrl":"https://doi.org/10.1017/S0261127920000017","url":null,"abstract":"How and when did Josquin’s Ave Maria … virgo serena become one of the most famous Renaissance motets? It is widely held that the motet’s modern standing is directly rooted in its Renaissance reception. And yet beyond its relatively robust circulation and placement at the beginning of Petrucci’s first printed book of motets, little evidence remains as to how Josquin’s now-famous motet was perceived during and shortly after the composer’s life. In responding to this paucity of information, Part I of this article traces a reception history for Ave Maria that considers how the motet was reworked in parody masses and motets, analysing the specific ways in which later composers both engaged with and departed from Josquin’s techniques. Part II turns to the work’s modern reception, mining the scholarly literature, survey texts and recordings for clues as to how the motet’s significance has shifted throughout the twentieth century. The article concludes by proposing that this site-specific approach may be useful in comprehending the extensive stylistic changes that occurred between c. 1480 and the mid-sixteenth century.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"1 - 73"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41380797","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":"Owen Rees, The Requiem of Tomás Luis de Victoria. Cambridge and New York: Cambridge University Press, 2019. xiv + 262 pp. ISBN 9781107294301.","authors":"Michael Noone","doi":"10.1017/S0261127920000054","DOIUrl":"https://doi.org/10.1017/S0261127920000054","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"313 - 329"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42525326","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}