Pub Date : 2021-10-01DOI: 10.1017/S026112792000011X
C. Gavito
Placing amateur performers and their instrument of choice at the forefront of inquiry, this article makes a case for the Spanish guitar as an instrument through which knowing subjects sought an epistemology of musical practice, a way-of-knowing-and-doing that could even surpass other musical epistemologies already in circulation during the seventeenth century. Leading this investigation is a handwritten book of lessons wherein there emerges a preference for learning the violin using the principles of guitar playing. Next, I discuss the appearance of annotated guitar tablature in the copy of Giulio Caccini’s Le nuove musiche held in the Library of Congress, which edits Caccini’s songs to purpose their accompaniments for easier guitar playing. Together, these two documents reveal earnest attempts at being musical with a guitar in the hands or guitar playing in the mind, opening us to a world-view that hinges on the guitar as the locus of musical knowledge.
本文将业余表演者及其选择的乐器置于研究的前沿，为西班牙吉他作为一种乐器提供了一个案例，通过这种乐器，知识主体寻求音乐实践的认识论，一种甚至可以超越17世纪已经流传的其他音乐认识论的认识和实践方式。领导这项调查的是一本手写的课程书，其中出现了使用吉他演奏原理学习小提琴的偏好。接下来，我讨论了国会图书馆收藏的Giulio Caccini的Le nuove music副本中带注释的吉他乐谱的出现，该副本编辑了Caccini歌曲，以便于吉他演奏。这两份文件共同揭示了在手拿吉他或脑海中弹奏吉他的情况下成为音乐人的真诚尝试，让我们看到了一种世界观，这种世界观依赖于吉他作为音乐知识的源泉。
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Pub Date : 2021-10-01DOI: 10.1017/S0261127921000012
J. Crossley, C. Mews, C. Williams
The Musica speculativa of Jean des Murs played a key role in renewing interest in the teaching of Boethius in the fourteenth century. We argue that this treatise is much more than a summary of the Boethian De institutione musica in presenting its core teachings as fully consistent within an Aristotelian theory of knowledge. Two versions of its prologue (1323 and 1325 respectively) are examined together with their relationship to Jean’s Notitia artis musicae (1321) and the innovative significance of its mathematical-style presentation of the teaching of Boethius about proportions with its appeal to clear diagrams. We aim to guide the modern reader through the thought patterns and diagrams of Jean des Murs, demonstrating why the Musica speculativa was so widely studied in the later Middle Ages. The two different prologues are presented in English translation for the first time.
让·德斯·穆尔斯的《推测音乐》在14世纪重新激发人们对博埃修斯教学的兴趣方面发挥了关键作用。我们认为，这篇论文不仅仅是对Boethian De Institute musica的总结，它将其核心教义呈现为与亚里士多德的知识理论完全一致。其序言的两个版本（分别为1323和1325），以及它们与Jean的《音乐艺术》（1321）的关系，以及其数学风格对Boethius关于比例的教学的创新意义，以及其对清晰图表的吸引力。我们的目的是通过让·德斯·穆尔斯的思维模式和图表来引导现代读者，展示为什么《推测音乐》在中世纪后期受到如此广泛的研究。这两个不同的序言是第一次在英文翻译中出现。
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Pub Date : 2021-10-01DOI: 10.1017/S026112792100005X
David Lee
enduring fascination with specialised and particular local histories. Put bluntly: why might anyone read a whole book about a community of long-deceased canons in a small European town? I’m not sure Kirkman has the most persuasive answers to offer here. For me the book gives a little too much weight in this regard to rhetorical gestures: seeing through windows to distant pasts (p. 3) or hearing distant echoes (p. 276), finding ‘patterns of interaction that are essentially timeless and : : : timelessly absorbing’ (p. 4), or, perhaps most difficult of all, his evocation of walking into the collegiate church as ‘com[ing] home’ (p. 21). Our desire for the past is something that is always time-full, located in our particular histories, and we do need to reflect in depth, moving beyond the antiquarian, if we are to understand the problems surrounding those desires (for home – but what is home?) and the possibilities for future action and engagement in the world that our scholarship promotes.
{"title":"Stephen Rose, Musical Authorship from Schütz to Bach. Cambridge: Cambridge University Press, 2019. XVI + 243 pp. ISBN 978-1-108-42107-2.","authors":"David Lee","doi":"10.1017/S026112792100005X","DOIUrl":"https://doi.org/10.1017/S026112792100005X","url":null,"abstract":"enduring fascination with specialised and particular local histories. Put bluntly: why might anyone read a whole book about a community of long-deceased canons in a small European town? I’m not sure Kirkman has the most persuasive answers to offer here. For me the book gives a little too much weight in this regard to rhetorical gestures: seeing through windows to distant pasts (p. 3) or hearing distant echoes (p. 276), finding ‘patterns of interaction that are essentially timeless and : : : timelessly absorbing’ (p. 4), or, perhaps most difficult of all, his evocation of walking into the collegiate church as ‘com[ing] home’ (p. 21). Our desire for the past is something that is always time-full, located in our particular histories, and we do need to reflect in depth, moving beyond the antiquarian, if we are to understand the problems surrounding those desires (for home – but what is home?) and the possibilities for future action and engagement in the world that our scholarship promotes.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"299 - 307"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46731163","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 : 2021-10-01DOI: 10.1017/s0261127921000073
{"title":"EMH volume 40 Cover and Back matter","authors":"","doi":"10.1017/s0261127921000073","DOIUrl":"https://doi.org/10.1017/s0261127921000073","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"40 1","pages":"b1 - b1"},"PeriodicalIF":0.3,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46999748","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 : 2021-10-01DOI: 10.1017/S0261127921000024
Joseph W Mason
In their songs, trouvères referred to their own acts of composition in various ways, not least as ‘finding’ (trouver) or ‘dividing’ (partir). Both terms had a wide and varied usage in medieval French culture and carried meanings that shape the way that the melodic structure of trouvère songs might be analysed. Invention, and its sister art of memory, played a key role in rhetorical practices. The process of ‘finding’ a melody and adorning it with memorable musical figures is performed in the structure of some songs. Division was used for intellectual work, as found in the classificatory models of medieval encyclopedic works, but it also signified socio-political animosity and strife. Through close readings of text–music relationships in four jeux-partis, the cultural significance of the musical acts of invention and division in thirteenth-century Arras is assessed in order to explore why trouvères performed acts of invention and division through their songs.
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Pub Date : 2021-10-01DOI: 10.1017/S0261127920000121
Manon Louviot
Douai, Bibliothèque Marceline Desbordes-Valmore, MS 1105/3 fragment 74.4/1 is a musical fragment from the second half of the fourteenth century, composed of two bifolios copied in black mensural notation. It not only contains a concordance for Multipliciter amando, a motet that, until now, has only survived in the famous Chantilly manuscript, but also four unica (another complete motet, two incomplete ones and a three-voice Gloria). After presenting a codicological overview of the fragment, I analyse distinctive features of each of the three complete pieces, based on the first modern transcription of the source. Special attention is given to the motet Ferre solet, which, by way of literary encoding mechanisms, reveals its composer’s name (Frater Johannes Vavassoris) and its precise date of composition (1373), making these four folios a crucial witness for understanding fourteenth-century musical culture.
Douai，Bibliothèque Marceline Desbordes Valmore，MS 1105/3片段74.4/1是14世纪下半叶的音乐片段，由两个用黑色经线记法复制的双叶组成。它不仅包含了一首《多重性》（Multipliciter amando）的和声，这首歌直到现在只在著名的尚蒂利手稿中保留了下来，而且还包含了四首unica（另一首完整的歌，两首不完整的歌和一首三声歌Gloria）。在介绍了该片段的共生态学概述后，我根据来源的第一次现代转录，分析了三个完整片段中每一个的独特特征。特别关注的是费雷·索莱特（Ferre solet），它通过文学编码机制揭示了作曲家的名字（Frater Johannes Vavassoris）和确切的创作日期（1373），使这四对开本成为理解14世纪音乐文化的重要见证。
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Pub Date : 2020-10-01DOI: 10.1017/s0261127920000108
{"title":"EMH volume 39 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127920000108","DOIUrl":"https://doi.org/10.1017/s0261127920000108","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127920000108","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440167","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/S0261127920000017
Clare Bokulich
How and when did Josquin’s Ave Maria … virgo serena become one of the most famous Renaissance motets? It is widely held that the motet’s modern standing is directly rooted in its Renaissance reception. And yet beyond its relatively robust circulation and placement at the beginning of Petrucci’s first printed book of motets, little evidence remains as to how Josquin’s now-famous motet was perceived during and shortly after the composer’s life. In responding to this paucity of information, Part I of this article traces a reception history for Ave Maria that considers how the motet was reworked in parody masses and motets, analysing the specific ways in which later composers both engaged with and departed from Josquin’s techniques. Part II turns to the work’s modern reception, mining the scholarly literature, survey texts and recordings for clues as to how the motet’s significance has shifted throughout the twentieth century. The article concludes by proposing that this site-specific approach may be useful in comprehending the extensive stylistic changes that occurred between c. 1480 and the mid-sixteenth century.
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Pub Date : 2020-10-01DOI: 10.1017/S0261127920000054
Michael Noone
{"title":"Owen Rees, The Requiem of Tomás Luis de Victoria. Cambridge and New York: Cambridge University Press, 2019. xiv + 262 pp. ISBN 9781107294301.","authors":"Michael Noone","doi":"10.1017/S0261127920000054","DOIUrl":"https://doi.org/10.1017/S0261127920000054","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"39 1","pages":"313 - 329"},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127920000054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42525326","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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