Plainsong and Medieval Music最新文献

Ars Antiqua motets in fourteenth-century Italy: liturgical priorities, style and notation in Bodleian, lat. liturg. e. 42 十四世纪意大利的 Ars Antiqua 主题曲：Bodleian, lat. liturg.

Plainsong and Medieval Music Pub Date : 2024-04-01 DOI: 10.1017/s0961137124000019

Matthew P. Thomson

{"title":"Ars Antiqua motets in fourteenth-century Italy: liturgical priorities, style and notation in Bodleian, lat. liturg. e. 42","authors":"Matthew P. Thomson","doi":"10.1017/s0961137124000019","DOIUrl":"https://doi.org/10.1017/s0961137124000019","url":null,"abstract":"The motets in the fourteenth-century liturgical manuscript Oxford, Bodleian, lat. liturg. e. 42 have, despite some sidelong glances, not been the subject of any concentrated study since F. Alberto Gallo introduced them in 1970. This article proposes a date for the copying of these motets in the first few decades of the fourteenth century and demonstrates that they have much to add to ongoing debates about stylistic and notational change between the Ars Antiqua and Ars Nova styles. First, they underline the importance of considering polyphony within the context of the whole book that transmits it: e. 42's motets work together with its monophonic chant to emphasise a set of feasts which were particularly important for the compilers of this manuscript within their institutional context. Second, these motets act as an important reminder that narratives of fourteenth-century stylistic change must be heterogeneous: the wide-ranging mix of musical styles found in the motets of e. 42 add to an emerging picture of early fourteenth-century Ars Antiqua collections in which such stylistic eclecticism is a common feature. Third, e. 42's notation and its connections to that of other manuscripts enrich and complicate narratives of notational change in this period. Parallels for e. 42's ligature use can be found in a temporally and geographically diverse set of manuscripts. Its notation of semibreves, however, resembles that of a smaller group of manuscripts from the early fourteenth century and provides an important witness for the changes to semibreve rhythm at that time.","PeriodicalId":513312,"journal":{"name":"Plainsong and Medieval Music","volume":"348 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140781825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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PMM volume 33 issue 1 Cover and Back matter PMM 第 33 卷第 1 期封面和封底

Plainsong and Medieval Music Pub Date : 2024-04-01 DOI: 10.1017/s0961137124000056

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PMM volume 33 issue 1 Cover and Front matter PMM 第 33 卷第 1 期封面和封底

Plainsong and Medieval Music Pub Date : 2024-04-01 DOI: 10.1017/s0961137124000044

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New evidence from Shrewsbury on the creation and circulation of music in high-medieval England 来自什鲁斯伯里的关于中世纪早期英格兰音乐创作和传播的新证据

Plainsong and Medieval Music Pub Date : 2024-04-01 DOI: 10.1017/s0961137124000020

Jack Stebbing

{"title":"New evidence from Shrewsbury on the creation and circulation of music in high-medieval England","authors":"Jack Stebbing","doi":"10.1017/s0961137124000020","DOIUrl":"https://doi.org/10.1017/s0961137124000020","url":null,"abstract":"This article presents new discoveries from a manuscript from the Collegiate Church of St Chad, Shrewsbury, with implications for the circulation of ecclesiastical music, particularly sequences, in twelfth- and thirteenth-century England. It begins with a brief examination of the twelfth-century musical contents of the manuscript, which are shown to hold close scribal affinities: in particular, a ‘winged’ neume shape is contextualised by contemporaneous musical inscriptions found in a manuscript probably written at Haughmond Abbey. The remainder of the article considers music, mostly sequences, inscribed in a palimpsest gathering at the back of the St Chad's manuscript in the thirteenth century. Two of these are compared for the first time with their concordances, one concordance newly discovered. Examination of the preservation and record of these musical entries (with discussion of contrafacture and marginalia) sheds light on creative practices of citation and intertextuality, performance traditions, and processes of reading and recording music at St Chad's, ultimately illuminating the role the church played within a creative network across England and northern Europe.","PeriodicalId":513312,"journal":{"name":"Plainsong and Medieval Music","volume":"36 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140785081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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The music theory booklet Balliol 173A, fols. 74r–81v: scribal organisation of an early medieval theory miscellany 巴利奥尔 173A 号音乐理论小册子，第 74r-81v 页：中世纪早期理论杂录的抄写整理

Plainsong and Medieval Music Pub Date : 2024-04-01 DOI: 10.1017/s0961137124000032

C. M. Balensuela

{"title":"The music theory booklet Balliol 173A, fols. 74r–81v: scribal organisation of an early medieval theory miscellany","authors":"C. M. Balensuela","doi":"10.1017/s0961137124000032","DOIUrl":"https://doi.org/10.1017/s0961137124000032","url":null,"abstract":"Using evidence of the quality of vellum, fascicle structure, scribal hands and illustrations, this article argues that the first fascicle of the music portion of Oxford, Balliol College, 173A (fols. 74–81) is a self-standing booklet, perhaps created to teach a scribe the basics of music theory and how to arrange text while leaving space for illustrations or examples. A new fascicle structure of the gathering is proposed that accounts for a previously unrecognised missing folio. An analysis of the contents of the gathering demonstrates that the theory booklet is a compilatio, with portions of the Musica disciplina (or it sources) acting as a frame to start and end the booklet, with other works (Pseudo-Jerome, Isidore of Seville and Cassiodorus) inserted in between. The final folios are completed with a number of small tractatuli, including the brief dialogue Diapason quid est? The contents of both the booklet and the entire music codex are closely paralleled in one of the smaller manuscripts collected into Oxford, St John's College 188 and also Cambridge, Trinity College R.15.22. While it will be ever easier to study digital images of manuscripts and to create critical editions of well-defined texts, this article argues for the continuing importance of codicological study of manuscripts in situ to coordinate the placements of texts within the structure of codices.","PeriodicalId":513312,"journal":{"name":"Plainsong and Medieval Music","volume":"216 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140783768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0