Pub Date : 2020-04-01DOI: 10.1017/S0961137120000066
Marianne C E Gillion
ABSTRACT The extensive melodic revision of plainchant in editions of the Graduale Romanum published in Italy from the late sixteenth century onward resulted in musically diverse repertoires that could depart widely from earlier chant traditions. The scale of the changes in these sources, both in type and in number, has obscured certain aspects of their editors’ work: their familiarity with the corpus, their aims and techniques, and their approach to the task. Previous analyses concluded that the editors worked on a chant-by-chant basis, and were either unaware of or ignored any shared melodic relationships between pieces of plainchant. An examination of the revisions to the recurrent melody used by the eight Ostende alleluias in three influential Italian printed graduals – Gardano 1591, Giunta 1596 and Medici 1614/15 – provides a different perspective. Analyses of the reshaped chants reveal that the editors possessed knowledge of the repertoire guiding aims, and favoured revision techniques. The combination of these factors, whether intentionally or not, resulted in the chants’ continued structural connection in the midst of increased melodic diversity. The individuation evident the chants did not necessarily signal the editors’ unfamiliarity with the repertoire, but could have been indicative of their intentional rejection of shared elements. Further, the revisions to the Ostende alleluias reveal that the editorial process could be flexible, with the chants approached both as individual entities and as groups. These findings demonstrate the complexity of the editorial process in early modern Italian printed graduals, and deepen our understanding of this multifaceted repertoire.
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Pub Date : 2020-04-01DOI: 10.1017/S0961137120000054
David Maw
ABSTRACT Word setting in Machaut's refrain songs poses a problem, for whilst it is clearly indicated in the manuscripts, it often does not comply with recognised principles or values. To understand the situation, a dualistic relationship of words and music is proposed. It is founded in the coordinated but independent operation of principles of musical mimesis and musico-poetic dislocation. The music is constructed at a primary level as an imitation of the poetic form; but it is fundamentally independent of this model and may thus be detached from it and displaced against it. Devices such as ‘cross-cadencing’, ‘quasi-declamation’, ‘complementary-cadence inversion’ and ‘dissonance’ between implied and actual word setting are manifestations of this technique. The proposal accounts on the same basis for both the close relationship of words and music observable in the virelais and for the more abstract connection apparent in the rondeaux. There is a technical unity at work across the genres in Machaut's song composition.
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Pub Date : 2020-04-01DOI: 10.1017/S0961137120000042
A. V. Clark
ABSTRACT In his three motets with tenors taken from secular songs, Guillaume de Machaut experiments with upper voice structures that borrow from the talea principle used in chant-based motets, creating hybrid forms that reflect aspects of the motet's overall subject. In two cases, Machaut sets up upper-voice taleae that do not coincide with their song-based tenor but interact with it in interesting ways. Trop plus est bele / Biauté paree de valour / Je ne sui mie certeins (M20) balances these formal principles to reflect a perfect love balanced between the dedicatory and the sacralised, while Lasse! comment oublieray / Se j'aim mon loyal ami / Pour quoy me bat mes maris? (M16) creates three opposing forms that reflect a Lady looking in two different directions, towards a beloved and a husband who abuses her. Dame je sui cilz qui weil endurer / Fins cuers doulz, on me deffent / T. Fins cuers doulz (M11) does not define regular upper-voice taleae, but rather uses the tools by which taleae are defined in the upper voices – long rests, hocket sections, and melodic repetition – to merge disparate formal principles in the service of a motet that discusses a woman who merges a soft appearance with a hard reality. Here Machaut also uses hexachordal punning, combining sharps and flats to express the Lady's contradictory qualities.
摘要纪尧姆·德·马绍特（Guillaume de Machaut。在两种情况下，Machaut设置了与歌曲男高音不一致的高音taleae，但以有趣的方式与之互动。Trop plus est bele/Biautéparee de valour/Je ne sui mie certeins（M20）平衡了这些正式原则，以反映出奉献和神圣之间的完美爱情，而Lasse！评论oublieray/Se j’aim mon忠诚的ami/给我打电话吗？（M16）创造了三种相反的形式，反映了一位女士朝着两个不同的方向看，一个是心爱的人，另一个是虐待她的丈夫。Dame je sui cilz qui weil endurer/Fins cuers doulz，on me deffent/T.Fins cuer doulz（M11）没有定义规则的上声距骨，而是使用了在上声中定义距骨的工具——长休息、飞节、，以及旋律重复——融合不同的形式原则，为一首探讨一个将柔软外表与坚硬现实融合在一起的女性的歌曲服务。在这里，马乔特还使用了六弦双关语，结合了尖锐和扁平来表达这位女士矛盾的品质。
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Pub Date : 2019-10-01DOI: 10.1017/s0961137119000081
J. Dyer
The volume under review is a worthy addition to the long-established Historia project of the Cantus Planus study group of the International Musicological Society. It maintains the high standards of previous offerings with an edition of a saint’s office that will appeal to both scholars and performers. St Hilary of Poitiers, the saint honoured by this office, preserved complete and incomplete in several versions, was, like the more famous Athanasius of Alexandria (296/298–373), a staunch a defender of Nicene orthodoxy against Arius and his followers. Hilary was born to pagan parents, probably in Arles, c.315. He converted to Christianity and was elected, as a married man with a daughter, as perhaps the first bishop of Poitiers in 350. Six years later, in punishment for opposing a pro-Arian bishop backed by the emperor, hewas exiled to Phrygia, where he familiarised himself with eastern theology. Back in Gaul by 360, Hilary continued to confront heterodox bishops. In alliance with Eusebius of Vercelli he attempted (unsuccessfully) to have the Arian bishop of Milan, Auxentius, deposed. (Auxentius held on to his position until his death in 374, when he was succeeded by Ambrose.) Hilary composed a number of Scripture commentaries, including a Tractatus mysteriorum, which interpreted the Old Testament in allegorical terms. His most important dogmatic treatise, De Trinitate (De fide adversus Arianos), necessarily had a polemical aspect, given the need to clarify the relationship between the divine and human natures in Christ. Three abecedarian hymns (one incomplete) are also credited to him. Hilary died at Poitiers in 367 or 368. His feast day is celebrated on 13 January; he was named a ‘Doctor of the Church’ by Pope Pius IX in 1851. The edition of the office is preceded by an exemplary introduction, whose subdivisions are clearly laid out in the table of contents. (The reader will discover immediately from the two-column layout that this a bilingual publication, in English and French.) Pages 4–19 of the introduction provide an excellent overview, amply footnoted with primary and secondary sources, of Hilary’s life and the development of his cult. The
{"title":"Barbara Haggh-Huglo (ed.), Historia Sancti Hylarii Episcopi Pictavensis (circa 816–930), Historiae 28, Wissenschaftliche Abhandlungen/Musicological Studies LXV/28. Kitchener, Ontario: Institute of Mediæval Music, 2018. ix + 127 pp. €82. ISBN 978 1 926664 50 7.","authors":"J. Dyer","doi":"10.1017/s0961137119000081","DOIUrl":"https://doi.org/10.1017/s0961137119000081","url":null,"abstract":"The volume under review is a worthy addition to the long-established Historia project of the Cantus Planus study group of the International Musicological Society. It maintains the high standards of previous offerings with an edition of a saint’s office that will appeal to both scholars and performers. St Hilary of Poitiers, the saint honoured by this office, preserved complete and incomplete in several versions, was, like the more famous Athanasius of Alexandria (296/298–373), a staunch a defender of Nicene orthodoxy against Arius and his followers. Hilary was born to pagan parents, probably in Arles, c.315. He converted to Christianity and was elected, as a married man with a daughter, as perhaps the first bishop of Poitiers in 350. Six years later, in punishment for opposing a pro-Arian bishop backed by the emperor, hewas exiled to Phrygia, where he familiarised himself with eastern theology. Back in Gaul by 360, Hilary continued to confront heterodox bishops. In alliance with Eusebius of Vercelli he attempted (unsuccessfully) to have the Arian bishop of Milan, Auxentius, deposed. (Auxentius held on to his position until his death in 374, when he was succeeded by Ambrose.) Hilary composed a number of Scripture commentaries, including a Tractatus mysteriorum, which interpreted the Old Testament in allegorical terms. His most important dogmatic treatise, De Trinitate (De fide adversus Arianos), necessarily had a polemical aspect, given the need to clarify the relationship between the divine and human natures in Christ. Three abecedarian hymns (one incomplete) are also credited to him. Hilary died at Poitiers in 367 or 368. His feast day is celebrated on 13 January; he was named a ‘Doctor of the Church’ by Pope Pius IX in 1851. The edition of the office is preceded by an exemplary introduction, whose subdivisions are clearly laid out in the table of contents. (The reader will discover immediately from the two-column layout that this a bilingual publication, in English and French.) Pages 4–19 of the introduction provide an excellent overview, amply footnoted with primary and secondary sources, of Hilary’s life and the development of his cult. The","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137119000081","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44007304","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 : 2019-10-01DOI: 10.1017/S0961137119000068
L. Earp
{"title":"Karen Desmond, Music and the moderni, 1300–1350: The ars nova in Theory and Practice. Cambridge: Cambridge University Press, 2018. xxiii + 300 pp. £75. ISBN 978 1 107 16709 4.","authors":"L. Earp","doi":"10.1017/S0961137119000068","DOIUrl":"https://doi.org/10.1017/S0961137119000068","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137119000068","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46562612","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 : 2019-10-01DOI: 10.1017/S0961137119000044
A. Mannion
Abstract Exeter Cathedral Library and Archives MS 3515 (hereafter EXcl 3515), a notated missal located in Exeter Cathedral, has to date received very little scholarly attention. This neglect may be due to the absence of a liturgical kalendar and evidence of local saints in the Sanctorale. Its assignment to the thirteenth century with a generic English origin suggests that critical questions concerning provenance and dating have been overlooked. The source itself comprises four disparate sections assembled so as to create a complete liturgical cycle. Yet the parts are not as separate as hitherto believed. A comparative investigation reveals not only an Exeter provenance and a twelfth-century dating, but also a new witness to the St Denis/Corbie tradition. Research also reveals unexpected threads of liturgical continuity with the Anglo-Saxon past. As a complete pre-Sarum source of Mass prayers, chants and readings, EXcl 3515 offers a useful lens with which to view a transitional period in the development of a medieval secular liturgy in England. (By contrast, the three dominant cathedrals – Salisbury, York and Hereford – all lack notated chant sources from this period.) EXcl 3515 adds not only significant new data to the current information on secular liturgies, but also challenges accepted theories on the shaping of a distinctive English Use in southwest England.
{"title":"Liturgy and chant in a twelfth-century Exeter missal","authors":"A. Mannion","doi":"10.1017/S0961137119000044","DOIUrl":"https://doi.org/10.1017/S0961137119000044","url":null,"abstract":"Abstract Exeter Cathedral Library and Archives MS 3515 (hereafter EXcl 3515), a notated missal located in Exeter Cathedral, has to date received very little scholarly attention. This neglect may be due to the absence of a liturgical kalendar and evidence of local saints in the Sanctorale. Its assignment to the thirteenth century with a generic English origin suggests that critical questions concerning provenance and dating have been overlooked. The source itself comprises four disparate sections assembled so as to create a complete liturgical cycle. Yet the parts are not as separate as hitherto believed. A comparative investigation reveals not only an Exeter provenance and a twelfth-century dating, but also a new witness to the St Denis/Corbie tradition. Research also reveals unexpected threads of liturgical continuity with the Anglo-Saxon past. As a complete pre-Sarum source of Mass prayers, chants and readings, EXcl 3515 offers a useful lens with which to view a transitional period in the development of a medieval secular liturgy in England. (By contrast, the three dominant cathedrals – Salisbury, York and Hereford – all lack notated chant sources from this period.) EXcl 3515 adds not only significant new data to the current information on secular liturgies, but also challenges accepted theories on the shaping of a distinctive English Use in southwest England.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137119000044","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48644056","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 : 2019-10-01DOI: 10.1017/S0961137119000093
G. Bevilacqua
{"title":"Jared C. Hartt (ed.), A Critical Companion to Medieval Motets, Studies in Medieval and Renaissance Music 17. Woodbridge: Boydell Press, 2018. xx + 397 pp. £60. ISBN 978 1 78327 307 2.","authors":"G. Bevilacqua","doi":"10.1017/S0961137119000093","DOIUrl":"https://doi.org/10.1017/S0961137119000093","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137119000093","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43078572","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 : 2019-10-01DOI: 10.1017/S0961137119000032
Elizabeth Eva Leach
Abstract The present article seeks to further recent discussion of the diversity of the motet in the long thirteenth century by considering a specific, rather unusual example of motet-related materials in a songbook. It examines a two-stanza pastourelle in the songbook that forms part of Oxford, Bodleian Library, MS Douce 308, and its connection to a network of related materials in various thirteenth-century motet sources. In so doing, it proposes the ostensibly unlikely scenario that this monophonic song derives from two separate motets that may already have been linked through their shared tenor and possibly also performed together in some way. This article brings the important conclusions of Fred Büttner in regard to these materials to Anglophone scholarship, while nuancing his reasoning in light of more recent scholarly work on thirteenth-century motets copied in songbooks.
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