EARLY MUSIC HISTORY最新文献

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THINKING LIKE A GUITARIST IN SEVENTEENTH-CENTURY ITALY 像十九世纪意大利的吉他手一样思考
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S026112792000011X
C. Gavito
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引用次数: 0
JEAN DES MURS AND THE RETURN TO BOETHIUS ON MUSIC 让-德穆尔斯与勃艮第的音乐回归
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S0261127921000012
J. Crossley, C. Mews, C. Williams
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引用次数: 1
Stephen Rose, Musical Authorship from Schütz to Bach. Cambridge: Cambridge University Press, 2019. XVI + 243 pp. ISBN 978-1-108-42107-2. 斯蒂芬·罗斯,从施<s:1>茨到巴赫的音乐作者。剑桥:剑桥大学出版社,2019。XVI + 243页。ISBN 978-1-108-42107-2。
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S026112792100005X
David Lee
{"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}
引用次数: 0
EMH volume 40 Cover and Back matter EMH第40卷封面和封底
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/s0261127921000073
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引用次数: 0
TROUVER ET PARTIR: THE MEANING OF STRUCTURE IN THE OLD FRENCH JEU-PARTI 寻找和离开:旧法语jeu parti中结构的含义
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S0261127921000024
Joseph W Mason
{"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}
引用次数: 0
UNCOVERING THE DOUAI FRAGMENT: COMPOSING POLYPHONY AND ENCODING A COMPOSER IN THE LATE FOURTEENTH CENTURY 杜艾碎片的揭开&十四世纪后期一位作曲家的复调创作与编码
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2021-10-01 DOI: 10.1017/S0261127920000121
Manon Louviot
{"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}
引用次数: 0
EMH volume 39 issue 1 Cover and Back matter EMH第39卷第1期封面和封底
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/s0261127920000108
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引用次数: 0
REMAKING A MOTET: HOW AND WHEN JOSQUIN’S AVE MARIA … VIRGO SERENA BECAME THE AVE MARIA 重新制作圣歌:乔斯金的圣母颂是如何以及何时……处女座的塞蕾娜成为圣母颂
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/S0261127920000017
Clare Bokulich
{"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}
引用次数: 0
Jane D. Hatter, Composing Community in Late Medieval Music: Self-Reference, Pedagogy, and Practice. Cambridge: Cambridge University Press, 2019. xvii + 281 pp. ISBN 978-1-108-47491-7. 简D.哈特,《中世纪晚期音乐创作社区:自我参照、教育学和实践》。剑桥:剑桥大学出版社,2019。xvi+281页,ISBN 978-1-108-47491-7。
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/S026112792000008X
P. Kolb
{"title":"Jane D. Hatter, Composing Community in Late Medieval Music: Self-Reference, Pedagogy, and Practice. Cambridge: Cambridge University Press, 2019. xvii + 281 pp. ISBN 978-1-108-47491-7.","authors":"P. Kolb","doi":"10.1017/S026112792000008X","DOIUrl":"https://doi.org/10.1017/S026112792000008X","url":null,"abstract":"Polyphonic composition in the decades around 1500 frequently involved references, more or less direct, to music, musicians and music-making. Composers used specific chant or song melodies as cantus firmi, they used notational means to manipulate musical material, and they referenced solmisation through puns, soggetto cavato and hexachordal motifs. Perhaps most obviously, they named themselves and their contemporaries in motet and song texts and described themselves in the act of performance. The increasing use of apparently self-referential devices coincides with a growing awareness of composers as composers, no longer merely singers who compose. Jane D. Hatter’s stimulating new study connects these two trends, arguing that self-reference was an intentional tool used by composers to forge a new professional identity, indeed to construct the idea of a compositional community with artistic connections to the past yet firmly embedded in the present. The book is neatly divided into two parts, ‘Music about Musicians’ and ‘Music about Music’. The references discussed in the first half are mostly textual ones in which the composers named themselves, as in ‘musicians’ motets’ and laments specifically for musicians. Some of these references can be oblique, as in the case of acrostics and other wordplay. The second half concerns what Hatter calls ‘Musica compositions’, where structuring devices seem to reference pedagogical or theoretical concepts like hexachords, solmisation or mensuration. Hatter’s primary source of evidence is the music itself, and she brings new insights to well-known repertoires while introducing some anonymous and lesser-known compositions. The pieces she analyses have never quite fit into the standard music-historical narratives of the Early Music History (2020) Volume 39. © Cambridge University Press","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"305 - 312"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112792000008X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42906049","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}
引用次数: 0
Owen Rees, The Requiem of Tomás Luis de Victoria. Cambridge and New York: Cambridge University Press, 2019. xiv + 262 pp. ISBN 9781107294301. 欧文·里斯,托马斯·路易斯·德·维多利亚的安魂曲。剑桥与纽约:剑桥大学出版社,2019年。xiv+262页,ISBN 9781107294301。
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/S0261127920000054
Michael Noone
{"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}
引用次数: 0
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