EARLY MUSIC HISTORY最新文献_第5页

THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES 19世纪巴黎复调手稿的产生：标准化程序的新证据

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2018-10-01 DOI: 10.1017/S0261127918000049

G. Bevilacqua, David Catalunya, Nuria Torres

{"title":"THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES","authors":"G. Bevilacqua, David Catalunya, Nuria Torres","doi":"10.1017/S0261127918000049","DOIUrl":"https://doi.org/10.1017/S0261127918000049","url":null,"abstract":"Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"91 - 139"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000049","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47283527","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: 4

PROTECTED PUBLICATIONS: THE IMPERIAL AND SAXON PRIVILEGES FOR PRINTED MUSIC, 1550–1700 受保护的出版物：印刷音乐的帝国和萨克森特权，1550–1700

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2018-10-01 DOI: 10.1017/S0261127918000013

S. Rose

引用次数: 3

EMH volume 37 issue 1 Cover and Back matter EMH第37卷第1期封面和封底

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2018-10-01 DOI: 10.1017/s0261127918000098

引用次数: 0

SINGING THE KING’S MUSIC: ATTAINGNANT’S MOTET SERIES, ROYAL HEGEMONY AND THE FUNCTION OF THE MOTET IN SIXTEENTH-CENTURY FRANCE 唱国王的音乐:阿达宁特的圣歌系列、王室霸权与十六世纪法国圣歌的功能

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2018-10-01 DOI: 10.1017/S0261127918000037

G. Bazinet

引用次数: 0

THE ITALIAN EXPERIENCE OF THE HOLY ROMAN EMPEROR CHARLES IV: MUSICAL AND LITERARY ASPECTS 神圣罗马皇帝查理四世的意大利经历:音乐和文学方面

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2018-10-01 DOI: 10.1017/S0261127918000025

Elena Abramov-van Rijk

引用次数: 0

CARNIVAL AND SACRED DRAMA: SCHÜTZ’S CHRISTMAS HISTORIA AND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY 狂欢与神圣戏剧：施的圣诞历史与17世纪下半叶圣诞节的变迁

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2017-09-12 DOI: 10.1017/S026112791700002X

Markus Rathey

{"title":"CARNIVAL AND SACRED DRAMA: SCHÜTZ’S CHRISTMAS HISTORIA AND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY","authors":"Markus Rathey","doi":"10.1017/S026112791700002X","DOIUrl":"https://doi.org/10.1017/S026112791700002X","url":null,"abstract":"The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger paradigm shift in seventeenth-century religiosity, which replaced external and physical displays of piety with internalized devotional practices. These shifts also included new theologies of corporeality and gender, which likewise had an impact on the ways in which Christmas was celebrated. The theological shifts correlate with the rejection of the carnivalesque in the Early Modern period, as it was analysed by Mikhail Bakhtin. Most of these changes took place in the 1670s and 1680s. Schütz’s Christmas Historia – which was composed before 1664 – represents a transitional phase and retains some earlier views of Christmas. The most obvious example is the Kindelwiegen (rocking of the child), the physicality of which was highly suspicious to theologians in the later seventeenth century. Schütz not only refers to this practice but incorporates it in the texture of his music.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"159 - 191"},"PeriodicalIF":0.3,"publicationDate":"2017-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791700002X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42693653","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

MUSICAL CRYPTOGRAPHY AND THE EARLY HISTORY OF THE ‘LEÓN ANTIPHONER’ 音乐密码学和“leÓn反电话”的早期历史

IF 0.3 1区艺术学

EARLY MUSIC HISTORY Pub Date : 2017-09-12 DOI: 10.1017/s0261127917000018

Elsa De Luca