Pub Date : 2020-10-01DOI: 10.1017/S0961137120000108
J. Grier
ABSTRACT Most standard musicological references attribute to Bishop Stephen of Liège (†920) the composition of three Offices: for the Holy Trinity, the feast of Saint Lambert (bishop of Liège in the early eighth century to whom the city's cathedral is dedicated) and the Invention of Saint Stephen the protomartyr. From statements by Richarius, Stephen's successor at Liège, and Folcuin of Lobbes (both from the tenth century), and the eleventh-century account of Anselm of Liège, along with the evidence in Brussels, Bibliothèque royale, MS 14650-59 (a tenth-century manuscript produced at Liège during Stephen's episcopate), I conclude that Stephen of Liège did have a hand in the Offices for Saint Lambert and the Holy Trinity. Although he may have composed chants for Saint Lambert, he more likely revised existing ones for the Trinity. No tenth- or eleventh-century testimony attests the attribution of the Office for the Invention of Saint Stephen to Bishop Stephen.
大多数标准的音乐学参考文献都将三个职位的组成归因于利安杰主教斯蒂芬(†920):圣三位一体，圣兰伯特(8世纪初利安杰主教，该市的大教堂是献给他的)的节日和圣斯蒂芬的发明。从理查里乌斯(Stephen在li的继任者)和福尔金(Folcuin of大堂)的陈述(都来自10世纪)，以及11世纪关于li的安塞尔姆的叙述，以及布鲁塞尔的证据，biblioth royale, MS 14650-59 (Stephen在li担任主教期间在li制作的10世纪手稿)，我得出结论，li的Stephen确实参与了圣兰伯特和圣三位一体的办公室。虽然他可能为圣兰伯特创作了圣歌，但他更有可能为三位一体修改了现有的圣歌。没有10世纪或11世纪的证据证明圣斯蒂芬发明办公室属于斯蒂芬主教。
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Pub Date : 2020-10-01DOI: 10.1017/S0961137120000157
Marie Winkelmüller-Urechia, R. Carrillo
The editors hope you and your loved ones have remained healthy during the COVID-19 pandemic. Like you, we have needed to adapt to the unexpected. Libraries having been closed we have been unable to consult materials in the usual way. The following bibliography has a simpler format than usual and has relied more than usual on submissions of bibliographical information from the authors. We are extremely grateful to all who contributed this year. Moreover Raquel Rojo Carrillo could not work on LCB 29 because she gave birth to a son last February. Congratulations! During the shutdown LCB 29 was compiled solely by Marie Winkelmüller-Urechia. LCB 29 retains the format established byMichael Paucker and expanded by Raquel Rojo Carrillo and Marie Winkelmüller-Urechia: (1) Additions, including new volumes of collections and reviews of publications previous listed; (2) Editions and facsimiles; (3) Books and reprints; (4) Congress proceedings; (5) Chant journals; (6) Collections of essays and dictionaries; (7) Articles in periodicals and Festschriften; (8) Ph.D. dissertations; and (9) Websites and online databases. Highlights of this year’s publications on liturgical chant include a new volume in the series Corpus Monodicum based at the University Würzburg. This volume ranges from tropes to Mass antiphons. This year also saw significant publications on the Libri ordinarii from Nivelles, Regensburg, Passau and Seckau. Publications on local chant traditions include Terence Bailey’s edition and commentaries on the Ambrosian psallendae. With sincere appreciation for your cooperation and communication, we again ask that you send references (including reviews) of new published works for future installments of the LCB to Dr Raquel Rojo Carrillo and Dr Marie Winkelmüller-Urechia at liturgchantbiblio@gmail.com. Thank you very much in advance!
{"title":"Liturgical chant bibliography 29","authors":"Marie Winkelmüller-Urechia, R. Carrillo","doi":"10.1017/S0961137120000157","DOIUrl":"https://doi.org/10.1017/S0961137120000157","url":null,"abstract":"The editors hope you and your loved ones have remained healthy during the COVID-19 pandemic. Like you, we have needed to adapt to the unexpected. Libraries having been closed we have been unable to consult materials in the usual way. The following bibliography has a simpler format than usual and has relied more than usual on submissions of bibliographical information from the authors. We are extremely grateful to all who contributed this year. Moreover Raquel Rojo Carrillo could not work on LCB 29 because she gave birth to a son last February. Congratulations! During the shutdown LCB 29 was compiled solely by Marie Winkelmüller-Urechia. LCB 29 retains the format established byMichael Paucker and expanded by Raquel Rojo Carrillo and Marie Winkelmüller-Urechia: (1) Additions, including new volumes of collections and reviews of publications previous listed; (2) Editions and facsimiles; (3) Books and reprints; (4) Congress proceedings; (5) Chant journals; (6) Collections of essays and dictionaries; (7) Articles in periodicals and Festschriften; (8) Ph.D. dissertations; and (9) Websites and online databases. Highlights of this year’s publications on liturgical chant include a new volume in the series Corpus Monodicum based at the University Würzburg. This volume ranges from tropes to Mass antiphons. This year also saw significant publications on the Libri ordinarii from Nivelles, Regensburg, Passau and Seckau. Publications on local chant traditions include Terence Bailey’s edition and commentaries on the Ambrosian psallendae. With sincere appreciation for your cooperation and communication, we again ask that you send references (including reviews) of new published works for future installments of the LCB to Dr Raquel Rojo Carrillo and Dr Marie Winkelmüller-Urechia at liturgchantbiblio@gmail.com. Thank you very much in advance!","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137120000157","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42685827","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}
Pub Date : 2020-10-01DOI: 10.1017/S096113712000011X
Standley Howell
ABSTRACT The ninth century witnessed a fundamental change in the way Western musicians thought about music. Before the Carolingians assimilated ancient music theory, they had no functional concept of how the intervals between pitches of the scale differed from one another and how those differences affected melodic structure. The transition to interval-based thinking may be traced in writings about music. The first half of Aurelian of Réôme's mid-century Musica disciplina quotes from Boethius, Cassiodorus and other ancient authors, but fails to make sense of what they say about intervals. The second half describes the rise and fall of chant melodies without reference to intervals. Treatises of the later ninth century (the Enchiriadis treatises, Hucbald's Musica) are the first to treat music in terms of individual pitches and explain how patterns of whole tones and semitones define modes and scales. However, an early draft of Musica enchiriadis, the Inchiriadon, still displays no awareness of the role that semitones played. A parallel evolution occurred in notation. Neumes, which outline melodic direction but not precise intervals, can be documented from the second quarter of the ninth century and are likely older. They lack pitch content because musicians who invented them lacked a conceptual framework for understanding pitch. Pitched notations do not appear until late in the century and their use is confined to examples in theory treatises.
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Pub Date : 2020-09-15DOI: 10.1017/S0961137120000091
David Maw
ABSTRACT The dualistic relationship of words and music in Machaut's refrain songs (proposed in Part 1 of this article) enables abstraction of the music from the poetic model that inspires it. This situation is at its most extreme in certain rondeaux, representatives of a genre for which a special function in Machaut's output is argued. Studies of specific groups of songs (B9–R4 and B35–R13–R21) illustrate the gradual development and detachment of material in related compositions. Through these accounts, it can be seen that the relationship of words and music proceeds on the same fundamental basis in the seemingly melismatic rondeaux as in the syllabic virelais, despite the apparently closer connection found in these latter. The technical unity at work in Machaut's song composition is constitutive of an aesthetic position. The abstracted musical text is an aspect of the multifaceted voice of Machaut's lyric œuvre and tends to subsume the poetry it sets creating an aesthetic of pure music.
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Pub Date : 2020-04-01DOI: 10.1017/S0961137120000029
Ian Rumbold
That the Low Countries were an important site of musical practice in the early modern period is well known, and the Leiden choirbooks are a crucial legacy of that practice, presenting at least some of the working repertory of an institution that formed part of the rich tapestry of liturgical life in a major non-collegiate church. There is plenty of evidence – surveyed in Eric Jas’s Piety and Polyphony in Sixteenth-Century Holland (p. 85 and elsewhere) – that similar books existed prior to the Reformation in other parish churches in the region. But the survival of those at Leiden is exceptional, and thereby hangs a tale. Following the takeover of St Peter’s by Protestants in 1572, the books became the property of the city authorities, whose treasurer prepared an inventory of them in 1578. After a period during which they were loaned to a group of singers, the books were placed in 1597 in a locked chest in the city hall, where they remained until the nineteenth century. Themeaningful interpretation of a group of sources such as this requires, of course, much more than musicological expertise, and Jas’s remarkable achievement is to have navigated his way through a huge array of ‘archival, codicological and scribal clues’ (p. 135) to arrive at a complex yet convincing account of themanuscripts’ origins, functions and significance, as well as an analysis of their contents. His volume in the Boydell Press’s series Studies in Medieval and Renaissance Music has behind it his Ph.D. dissertation of 1997 and a series of six two-CD recordings by the Egidius Kwartet of selected items from the choirbooks, for which Jas provided valuable commentary, but this new monograph represents an important advance on his previous work and makes it available for the first time in English. Eight choirbookswere present when the inventorywas prepared in 1578. Two have been lost since then: one consisting (according to the inventory) of a book of Masses of 329 folios from 1550, the other a book in a soft cover containing four Masses and a Passion setting. The remaining six date, Jas shows, from between c.1545 and c.1565 (with some later additions from 1565 to 1567), and contain a total of 328 different compositions. Themusic itself forms the subject of Jas’s Chapter 4, and is inventoried in his Appendix 2. The core repertory – reflecting the time and place at which it was copied, as well as the liturgical needs of the institution – highlights the works of Clemens non Papa and Crecquillon, and includes other composers who worked in northern France and the southern Netherlands (Appenzeller, Canis, Gombert, Hellinck, Hollander, Lupi, Manchicourt, Mouton, Richafort, etc.), including some whose reputation was
{"title":"Eric Jas, Piety and Polyphony in Sixteenth-Century Holland: The Choirbooks of St Peter's Church, Leiden, Studies in Medieval and Renaissance Music 18. Woodbridge: Boydell Press, 2018. xvi + 416 pp. £60. ISBN 978 1 78327 326 3.","authors":"Ian Rumbold","doi":"10.1017/S0961137120000029","DOIUrl":"https://doi.org/10.1017/S0961137120000029","url":null,"abstract":"That the Low Countries were an important site of musical practice in the early modern period is well known, and the Leiden choirbooks are a crucial legacy of that practice, presenting at least some of the working repertory of an institution that formed part of the rich tapestry of liturgical life in a major non-collegiate church. There is plenty of evidence – surveyed in Eric Jas’s Piety and Polyphony in Sixteenth-Century Holland (p. 85 and elsewhere) – that similar books existed prior to the Reformation in other parish churches in the region. But the survival of those at Leiden is exceptional, and thereby hangs a tale. Following the takeover of St Peter’s by Protestants in 1572, the books became the property of the city authorities, whose treasurer prepared an inventory of them in 1578. After a period during which they were loaned to a group of singers, the books were placed in 1597 in a locked chest in the city hall, where they remained until the nineteenth century. Themeaningful interpretation of a group of sources such as this requires, of course, much more than musicological expertise, and Jas’s remarkable achievement is to have navigated his way through a huge array of ‘archival, codicological and scribal clues’ (p. 135) to arrive at a complex yet convincing account of themanuscripts’ origins, functions and significance, as well as an analysis of their contents. His volume in the Boydell Press’s series Studies in Medieval and Renaissance Music has behind it his Ph.D. dissertation of 1997 and a series of six two-CD recordings by the Egidius Kwartet of selected items from the choirbooks, for which Jas provided valuable commentary, but this new monograph represents an important advance on his previous work and makes it available for the first time in English. Eight choirbookswere present when the inventorywas prepared in 1578. Two have been lost since then: one consisting (according to the inventory) of a book of Masses of 329 folios from 1550, the other a book in a soft cover containing four Masses and a Passion setting. The remaining six date, Jas shows, from between c.1545 and c.1565 (with some later additions from 1565 to 1567), and contain a total of 328 different compositions. Themusic itself forms the subject of Jas’s Chapter 4, and is inventoried in his Appendix 2. The core repertory – reflecting the time and place at which it was copied, as well as the liturgical needs of the institution – highlights the works of Clemens non Papa and Crecquillon, and includes other composers who worked in northern France and the southern Netherlands (Appenzeller, Canis, Gombert, Hellinck, Hollander, Lupi, Manchicourt, Mouton, Richafort, etc.), including some whose reputation was","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137120000029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46638879","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}
Pub Date : 2020-04-01DOI: 10.1017/S0961137120000030
J. Llewellyn
levels of formality: the size and spacing of his diamond-shaped noteheads could be adjusted, or abandoned altogether in favour ofmore quickly executed teardrop shapes, yet enough remains constant in De Blauwe’s work to convince us that his work pervades these sources. De Blauwe must also have been responsible for the calligraphic initials in MSS 1438–1440. Jas does not suggest this, but one of the weapons in De Blauwe’s scribal armoury when executing the more elaborate initials (see the cover of Jas’s book, and his Plate 16 on p. 103) may have been a broad-nibbed pen with a nick excised towards the right edge of the nib, producing at a single stroke a broad line on the left and a parallel narrow line on the right. We must be grateful to Dr Jas for presenting his work in such elegant English, and his publisher has served him reasonably well. It is regrettable that a decision was taken to reproduce the watermarks (in Appendix 3) smaller than their actual size, since this makes potential comparison with other examples much more difficult (and this is all the more frustrating when the list of concordant sources – important as it is – is presented on pp. 349–93 in a much larger typesize and a more extravagant layout than necessary). The proofreader might perhaps have spotted twenty or so occurrences of ‘epynomous’ (sic) in the manuscript inventories, not to mention some of the stranger end-of-line hyphenations (‘notehe-ads’, pp. 111, 116; ‘semim-inims’, p. 131). But, of course, none of this detracts from the value of Jas’s important and thorough research and his impressive presentation of it in this book.
{"title":"Angela Mariani, Improvisation and Inventio in the Performance of Medieval Music: A Practical Approach. New York: Oxford University Press, 2017. xxi + 232 pp. £71 (hardback) / £18.99 (paperback). ISBN 978 0 19 063117 8 (hardback), 978 0 19 063118 5 (paperback).","authors":"J. Llewellyn","doi":"10.1017/S0961137120000030","DOIUrl":"https://doi.org/10.1017/S0961137120000030","url":null,"abstract":"levels of formality: the size and spacing of his diamond-shaped noteheads could be adjusted, or abandoned altogether in favour ofmore quickly executed teardrop shapes, yet enough remains constant in De Blauwe’s work to convince us that his work pervades these sources. De Blauwe must also have been responsible for the calligraphic initials in MSS 1438–1440. Jas does not suggest this, but one of the weapons in De Blauwe’s scribal armoury when executing the more elaborate initials (see the cover of Jas’s book, and his Plate 16 on p. 103) may have been a broad-nibbed pen with a nick excised towards the right edge of the nib, producing at a single stroke a broad line on the left and a parallel narrow line on the right. We must be grateful to Dr Jas for presenting his work in such elegant English, and his publisher has served him reasonably well. It is regrettable that a decision was taken to reproduce the watermarks (in Appendix 3) smaller than their actual size, since this makes potential comparison with other examples much more difficult (and this is all the more frustrating when the list of concordant sources – important as it is – is presented on pp. 349–93 in a much larger typesize and a more extravagant layout than necessary). The proofreader might perhaps have spotted twenty or so occurrences of ‘epynomous’ (sic) in the manuscript inventories, not to mention some of the stranger end-of-line hyphenations (‘notehe-ads’, pp. 111, 116; ‘semim-inims’, p. 131). But, of course, none of this detracts from the value of Jas’s important and thorough research and his impressive presentation of it in this book.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137120000030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41315182","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}
Pub Date : 2020-04-01DOI: 10.1017/S0961137120000005
R. Baltzer
{"title":"Catherine A. Bradley, Polyphony in Medieval Paris: The Art of Composing with Plainchant, Music in Context 9. Cambridge: Cambridge University Press, 2018. xvii + 281 pp. £75. ISBN 978 1 108 41858 4.","authors":"R. Baltzer","doi":"10.1017/S0961137120000005","DOIUrl":"https://doi.org/10.1017/S0961137120000005","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137120000005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46555041","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}
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