IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2024-09-09 DOI: 10.1093/em/caae030

Hanna Walsdorf

引用次数: 0

Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia 消失王国中的音乐：普鲁士条顿骑士团国家的中世纪复调音乐

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2024-08-22 DOI: 10.1093/em/caae026

Paweł Gancarczyk

{"title":"Music in a vanished kingdom: medieval polyphony in the Teutonic Order state in Prussia","authors":"Paweł Gancarczyk","doi":"10.1093/em/caae026","DOIUrl":"https://doi.org/10.1093/em/caae026","url":null,"abstract":"The state of the Teutonic Order in Prussia, or Ordensstaat (1228–1525), belongs to those ‘vanished kingdoms’ which—devoid of any contemporary heirs—remain on the margins of historical narratives about music. The aim of this article is to describe polyphonic practices in medieval Prussia on the basis of archival and musical sources. Although the information they contain is of a fragmentary character, referring mainly to the first half of the 15th century, it does indicate that a variety of music was cultivated: from simply polyphony in chant notation to international Ars Nova. Outside the major ecclesiastic centres, conditions for the cultivation of polyphony could have existed at the court of the Grand Master, at which musicians—mostly instrumentalists—from across Europe appeared. Particular attention is devoted in the article to fragments from the Gdańsk Library of the Polish Academy of Sciences (Ms. 2153a) which contain works in the style of Central European polyphony, belonging to the genres of motet, cantio and rotulum. These and other sources indicate that the culture of medieval Prussia should be seen from the perspective of various European connections, and not as Germanic or Polish culture, as has often occurred in the past.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142180064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

More on the scoring of Josquin’s Huc me sydereo and the manuscript St Gallen 464 更多关于乔斯昆《Huc me sydereo》的配乐和手稿《St Gallen 464》的内容

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2024-07-30 DOI: 10.1093/em/caae005

Brett Kostrzewski

{"title":"More on the scoring of Josquin’s Huc me sydereo and the manuscript St Gallen 464","authors":"Brett Kostrzewski","doi":"10.1093/em/caae005","DOIUrl":"https://doi.org/10.1093/em/caae005","url":null,"abstract":"The motet Huc me sydereo by Josquin des Prez appears in both five- and six-voice versions, having led scholars to debate which version is authentic to the composer’s original conception. The authoritative New Josquin Edition presents the motet in its six-voice version; in the critical commentary, editor Bonnie Blackburn defended it as Josquin’s original. More recently, Joshua Rifkin has demonstrated on stylistic and source-critical grounds that the five-voice version was original, with a sixth voice having been added later. In this article, I present new findings on the manuscript St Gallen 464, an important early source for Huc me sydereo, which reinforce arguments defending the authenticity of the five-voice version. I show that the origin of the sixth voice can be isolated to a trio of sources produced on the Italian peninsula in the 1510s, all but eliminating Josquin as a candidate as its author. Moreover, through a new identification of the original scribe and owner of St Gallen 464, I shed new light on that manuscript’s date and provenance. In so doing, I demonstrate how the study of musical sources and transmission can carry direct importance for essential performance decisions.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141872424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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

Frescobaldi and friends 弗雷斯科巴尔迪和朋友们

IF 0.6 2区艺术学

EARLY MUSIC Pub Date : 2024-07-18 DOI: 10.1093/em/caae004

Fabrice Fitch

引用次数: 0

Early musicking in its own words and images 早期音乐的文字和图像

IF 0.6 2区艺术学

EARLY MUSIC Pub Date : 2024-07-18 DOI: 10.1093/em/caae006

David R M Irving

引用次数: 0

Musical culture in early modern Ferrara 现代早期费拉拉的音乐文化