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EMH volume 39 issue 1 Cover and Front matter EMH第39卷第1期封面和封面问题
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/s0261127920000091
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引用次数: 0
MATTERS OF TASTE: THE LUTHERAN MARKET FOR SACRED MUSIC IN THE SEVENTEENTH CENTURY 品味问题:十七世纪路德教会的圣乐市场
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/S0261127920000030
Mary E. Frandsen
{"title":"MATTERS OF TASTE: THE LUTHERAN MARKET FOR SACRED MUSIC IN THE SEVENTEENTH CENTURY","authors":"Mary E. Frandsen","doi":"10.1017/S0261127920000030","DOIUrl":"https://doi.org/10.1017/S0261127920000030","url":null,"abstract":"Many studies have been devoted to the producers of Lutheran music in seventeenth-century Germany – composers, editors, publishers and printers. Little attention, however, has been paid to the tastes and preferences of the consumers of this music. This article represents the first study of this subject, and draws on music inventories and account books to examine the Lutheran market for sacred music during this period. It presents a number of key findings, all of which relate to purchasing patterns: that community members donated a considerable amount of music to Lutheran institutions; that music prices remained quite stable for decades; that Lutherans cultivated the older motet alongside the newer sacred concerto throughout much of the century; that Lutherans sought out music by Italians and northern Catholics as well as by Lutherans; and that after c. 1640, the composer Andreas Hammerschmidt dominated the Lutheran market for sacred music, outselling all of his contemporaries. For Frederick Gable and Jeffrey Kurtzman, longtime mentors, colleagues and friends","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"149 - 218"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48461216","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
FRAMING A DITTY FOR ELIZABETH: THOUGHTS ON MUSIC FOR THE 1602 SUMMER PROGRESS 为伊丽莎白创作一首小曲:对1602年夏季游行音乐的思考
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/s0261127920000066
Ross W. Duffin
{"title":"FRAMING A DITTY FOR ELIZABETH: THOUGHTS ON MUSIC FOR THE 1602 SUMMER PROGRESS","authors":"Ross W. Duffin","doi":"10.1017/s0261127920000066","DOIUrl":"https://doi.org/10.1017/s0261127920000066","url":null,"abstract":"The summer of 1602 featured a soggy ‘progress’ by Queen Elizabeth to various noble households in the vicinity of London, interspersed with elaborate royal entertainments. In the midst of the formal festivities occurred an enigmatic and apparently distressing incident involving the Queen, her Principal Secretary Robert Cecil, and his niece Elizabeth, Countess of Derby. Cecil hastily used songs to try to win back the lost favour of his Queen, and though his long-mislaid lyrics were identified a quarter-century ago, their music has remained unknown. This article reviews evidence of music for the songs, and for other events during that summer's progress.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"115 - 148"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48727774","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: 1
‘MUCH TO DELIVER IN YOUR HONOUR'S EAR’: ANGELO NOTARI’S WORK IN INTELLIGENCE, 1616–1623 “有许多话要对着阁下的耳朵说”:安吉洛·诺塔里的情报工作，1616-1623年
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-10-01 DOI: 10.1017/s0261127920000029
Alana Mailes
{"title":"‘MUCH TO DELIVER IN YOUR HONOUR'S EAR’: ANGELO NOTARI’S WORK IN INTELLIGENCE, 1616–1623","authors":"Alana Mailes","doi":"10.1017/s0261127920000029","DOIUrl":"https://doi.org/10.1017/s0261127920000029","url":null,"abstract":"It has long been surmised that the Paduan singer, lutenist and composer Angelo Notari (1566–1663) was employed as a spy after immigrating to England circa 1610. In examining Venetian counterintelligence papers previously neglected by musicologists, I here confirm that Notari was indeed an intelligencer. More specifically, he was a paid informant for the Venetian State Inquisitors between 1616 and 1619 and participated in a contentious international trial concerning the Venetian ambassador to England, Antonio Foscarini. I argue that Notari's work as a musician was inextricable from his identity as an intelligencer and former Venetian citizen and demonstrate that Italian musicians in Jacobean London significantly influenced international diplomatic relations. By identifying intersections between the two highly social practices of music-making and intelligence-gathering, I encourage greater musicological attention to political networks that transmitted music across borders and, conversely, musical networks that transmitted political intelligence. I thus situate seventeenth-century musical transculturation within its broader diplomatic, confessional and economic contexts.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"219 - 252"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48743149","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
CREATING MS C: AUTHOR, WORKSHOP, COURT 创建ms c:作者，工作室，法庭
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-09-04 DOI: 10.1017/S0261127920000042
Uri Smilansky
{"title":"CREATING MS C: AUTHOR, WORKSHOP, COURT","authors":"Uri Smilansky","doi":"10.1017/S0261127920000042","DOIUrl":"https://doi.org/10.1017/S0261127920000042","url":null,"abstract":"Machaut's set of complete works manuscripts forms a central pillar of our understanding of musical and generic developments and their courtly reception in fourteenth-century France. By applying the continuing scholarly advances made during the study of courtly practice and the professional Parisian book-trade to the earliest of these artefacts, this contribution reassesses the creation-history of the manuscript Paris, Bibliothèque nationale de France, fonds français 1586. The results tap into a number of enduring discussions within Machaut scholarship. These range from questions of patronage, to aspects of Machaut's authorial control and involvement in the production of his books, to the importance of order on the single-work level within a generic grouping, and to the practicalities of manuscript creation and intentionality. Finally, proposed adjustments to the dating of some compositions call for a review of existing notions of generic development and polyphonic composition in the early part of the century, thus resonating beyond Machaut's personal output.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"253 - 304"},"PeriodicalIF":0.3,"publicationDate":"2020-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46106554","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
A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA 一个本土化的边界对象：西方音乐理论在中国的发展
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2020-09-04 DOI: 10.1017/S0261127920000078
S. Chow
{"title":"A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA","authors":"S. Chow","doi":"10.1017/S0261127920000078","DOIUrl":"https://doi.org/10.1017/S0261127920000078","url":null,"abstract":"In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth-century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpretation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"75 - 113"},"PeriodicalIF":0.3,"publicationDate":"2020-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000078","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49375893","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: 1
SINGING AND DEVOTION IN THE SIXTEENTH-CENTURY LOW COUNTRIES 十九世纪低地的歌唱与奉献
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2019-10-01 DOI: 10.1017/S026112791900010X
Matthew Laube
{"title":"SINGING AND DEVOTION IN THE SIXTEENTH-CENTURY LOW COUNTRIES","authors":"Matthew Laube","doi":"10.1017/S026112791900010X","DOIUrl":"https://doi.org/10.1017/S026112791900010X","url":null,"abstract":"It has been thirty-four years since the publication of Music in Late Medieval Bruges, Reinhard Strohm’s study contextualising the Lucca choirbook in the urban metropolis of late medieval Bruges.1 His monograph was seminal for many reasons, not least for its ability to appeal – still today – to scholars across the various methodological quarters of musicology. Strohm’s evocative, Huizinga-inspired opening chapter, ‘Townscape – Soundscape’, animates much of the current work on urban music, and has been especially relevant to the ‘sonic turn’ across the humanities. At the same time, the bulk of the study attended to thoroughly traditional musicological concerns of source studies, the cultivation of polyphony, patronage, and the history of institutions. Music in Late Medieval Bruges was important in yet another way, namely its rejection of a long-standing view of the fifteenthand sixteenth-century Low Countries2 as a training ground for musicians who then migrated to work elsewhere. Music in Late Medieval Bruges insisted that the late medieval and Renaissance Low Countries","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"305 - 316"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791900010X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47967214","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
LATIN SONG AT THE ABBEY OF SANKT GALLEN FROM C. 800 TO THE LIBER YMNORUM 圣加仑修道院的拉丁歌曲，约800年至自由YMNORUM
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2019-10-01 DOI: 10.1017/S0261127919000068
S. Barrett
{"title":"LATIN SONG AT THE ABBEY OF SANKT GALLEN FROM C. 800 TO THE LIBER YMNORUM","authors":"S. Barrett","doi":"10.1017/S0261127919000068","DOIUrl":"https://doi.org/10.1017/S0261127919000068","url":null,"abstract":"New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"1 - 50"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000068","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49506688","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: 1
PHILIPPE DE VITRY, BISHOP OF MEAUX Philippe de Vitry，Meaux主教
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2019-10-01 DOI: 10.1017/S0261127919000019
Andrew Wathey
{"title":"PHILIPPE DE VITRY, BISHOP OF MEAUX","authors":"Andrew Wathey","doi":"10.1017/S0261127919000019","DOIUrl":"https://doi.org/10.1017/S0261127919000019","url":null,"abstract":"Abstract Philippe de Vitry’s tenure of the bishopric of Meaux in the last decade of his life, 1351–61, the crowning event of his court and church career, has often been regarded as a period of retirement from creative activity. A reassessment of this judgement is timely, following new musical discoveries and literary work exposing links between Vitry and his contemporaries. Using new archival material, this article explores the geopolitical context of Vitry’s work in the diocese of Meaux; his engagement with political society, king and court; and his role in events under a national government fractured by the capture of Jean II at Poitiers in 1356. It examines the interplay of Vitry’s career, relationships and output, identifying the composer’s house in Paris, and exploring his family relationships, and his engagement with Pierre Bersuire, among others, in the creative circles of mid-fourteenth-century Paris. It also illuminates a context and opportunities for the continuation of his creative work into the late 1350s, some remnants of which survive in the literary miscellany Paris, BN Lat. 3343.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"215 - 268"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46925768","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
HEARING THE BODY OF CHRIST IN EARLY MODERN PRAGUE 在近代布拉格聆听基督的圣体
IF 0.3 1区 艺术学
EARLY MUSIC HISTORY Pub Date : 2019-10-01 DOI: 10.1017/S0261127919000032
E. Honisch
{"title":"HEARING THE BODY OF CHRIST IN EARLY MODERN PRAGUE","authors":"E. Honisch","doi":"10.1017/S0261127919000032","DOIUrl":"https://doi.org/10.1017/S0261127919000032","url":null,"abstract":"The multi-confessional cities of early modern Central Europe resounded with sacred music. People sang to express faith, to challenge the beliefs of others, and to lay claim to shared urban spaces. This study considers how such music was heard in Prague, the capital of the Holy Roman Empire, during the reign of the Habsburg Emperor Rudolf II (1576–1612). During this period, the city’s Catholics jostled for supremacy with Czech-speaking Utraquists (followers of Jan Hus), who vastly outnumbered them, and a growing population of German-speaking Lutherans. Focusing on the sonically rich Corpus Christi processions held by Prague’s Jesuits, this article examines how sounds that aggressively promoted Catholic Eucharistic doctrine were received by those who were––by chance or by design––within earshot. Viewing Catholic claims alongside non-Catholic resistance suggests that music’s power lay as much in the fact of its performance as in its deployment of specific texts and sounds.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"51 - 105"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000032","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42775974","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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