Pub Date : 2019-10-01DOI: 10.1017/s0261127918000104
G. Bevilacqua, David Catalunya, Nuria Torres
{"title":"THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES – ERRATUM","authors":"G. Bevilacqua, David Catalunya, Nuria Torres","doi":"10.1017/s0261127918000104","DOIUrl":"https://doi.org/10.1017/s0261127918000104","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"323 - 323"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127918000104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42875325","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/s0261127919000081
{"title":"EMH volume 38 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0261127919000081","DOIUrl":"https://doi.org/10.1017/s0261127919000081","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"f1 - f7"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127919000081","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47168672","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/S0261127919000044
Gaël Saint-Cricq
This article presents a textbook case for the examination of generic interplay in the thirteenth century, investigating four works that offer transgeneric reworkings relating polyphony to trouvère song. These works are found as anonymous motets and clausulae in polyphonic gatherings, but their upper voices are also copied as multi-strophic songs in songbooks, where they are attributed to the trouvère Robert de Reims. This case therefore touches on the issues of generic borders and mixing, on trouvère involvement in this generic interplay, and on the relationships between attribution and authorship in the Middle Ages. The investigation has important outcomes for the reconstruction of the genetic map of the motet, revealing works playing havoc with the vectors of transmission customarily established in the interplay of motet, chanson and clausula, and revealing early trouvère involvement in the repertoire as an essential key to the comprehension of cross-over activity between song and polyphony.
{"title":"GENRE, ATTRIBUTION AND AUTHORSHIP IN THE THIRTEENTH CENTURY: ROBERT DE REIMS VS ‘ROBERT DE RAINS’","authors":"Gaël Saint-Cricq","doi":"10.1017/S0261127919000044","DOIUrl":"https://doi.org/10.1017/S0261127919000044","url":null,"abstract":"This article presents a textbook case for the examination of generic interplay in the thirteenth century, investigating four works that offer transgeneric reworkings relating polyphony to trouvère song. These works are found as anonymous motets and clausulae in polyphonic gatherings, but their upper voices are also copied as multi-strophic songs in songbooks, where they are attributed to the trouvère Robert de Reims. This case therefore touches on the issues of generic borders and mixing, on trouvère involvement in this generic interplay, and on the relationships between attribution and authorship in the Middle Ages. The investigation has important outcomes for the reconstruction of the genetic map of the motet, revealing works playing havoc with the vectors of transmission customarily established in the interplay of motet, chanson and clausula, and revealing early trouvère involvement in the repertoire as an essential key to the comprehension of cross-over activity between song and polyphony.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"141 - 213"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000044","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44884236","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/S026112791900007X
J. Contreni
Leo Treitler concluded his seminal study ‘Reading and Singing: On the Genesis of Occidental Music Writing’, published first in these pages thirty-five years ago, with the obiter dicta that understanding the origin of music writing ‘is a question of semiotics, not alone of paleography’.1 While not denying that music writing is a system of signs, Susan Rankin’s important book argues that the sudden appearance ‘within a period of probably not more than fifty years (and probably rather less)’ (p. 328) of varieties of music script in the ninth century can best be understood from the perspective of palaeography. During the course of the ninth century music books and fragments of music came to be accompanied by supralinear notations. By the end of the century music notation was commonplace and had developed its own broad conventions. But was the ‘invention of musical notation’ a paradigm shift? In an early example of the careful and judicious reasoning that characterises her investigation, Rankin answers that it was not (pp. 77– 84). Memory was at the heart of music production, obviously so when music texts did not come with signs, but even so when music texts did come equipped with signs. Memory now worked in tandem with signs, signs that were written with the same quill and ink as the alphabetic signs they accompanied and thus the subject matter of palaeography. Rankin’s new narrative succeeds on several levels. It offers a panoramic and nuanced view of Carolingian music notation that deftly
Leo Treitler总结了他的开创性研究“阅读和歌唱:关于西方音乐写作的起源”，35年前首次在这些页上发表，并明确表示理解音乐写作的起源“是符号学的问题，而不仅仅是古文字”虽然不否认音乐写作是一种符号系统，但苏珊·兰金(Susan Rankin)的重要著作认为，“在可能不超过50年(可能更短)的时间内”(第328页)，九世纪各种音乐手稿的突然出现，可以最好地从古生物学的角度来理解。在九世纪的过程中，音乐书籍和音乐片段开始伴随着超线谱。到本世纪末，音乐记谱法已经司空见惯，并形成了自己的广泛惯例。但“乐谱的发明”是一种范式的转变吗?在一个早期的例子中，兰金的仔细和明智的推理是她的调查的特征，她回答说这不是(第77 - 84页)。记忆是音乐创作的核心，当音乐文本没有符号的时候显然如此，但当音乐文本有符号的时候也是如此。记忆现在与符号一起工作，这些符号与它们所伴随的字母符号一样，都是用羽毛笔和墨水写的，因此成为了古文字研究的主题。兰金的新叙述在几个层面上都取得了成功。它提供了一个全景和细致入微的观点，加洛林王朝的音乐符号，巧妙地
{"title":"Susan Rankin, Writing Sounds in Carolingian Europe: The Invention of Musical Notation. Cambridge Studies in Palaeography and Codicology, 15. Cambridge: Cambridge University Press, 2018. xxiv + 404 pp. ISBN 978-1-108-42140-9","authors":"J. Contreni","doi":"10.1017/S026112791900007X","DOIUrl":"https://doi.org/10.1017/S026112791900007X","url":null,"abstract":"Leo Treitler concluded his seminal study ‘Reading and Singing: On the Genesis of Occidental Music Writing’, published first in these pages thirty-five years ago, with the obiter dicta that understanding the origin of music writing ‘is a question of semiotics, not alone of paleography’.1 While not denying that music writing is a system of signs, Susan Rankin’s important book argues that the sudden appearance ‘within a period of probably not more than fifty years (and probably rather less)’ (p. 328) of varieties of music script in the ninth century can best be understood from the perspective of palaeography. During the course of the ninth century music books and fragments of music came to be accompanied by supralinear notations. By the end of the century music notation was commonplace and had developed its own broad conventions. But was the ‘invention of musical notation’ a paradigm shift? In an early example of the careful and judicious reasoning that characterises her investigation, Rankin answers that it was not (pp. 77– 84). Memory was at the heart of music production, obviously so when music texts did not come with signs, but even so when music texts did come equipped with signs. Memory now worked in tandem with signs, signs that were written with the same quill and ink as the alphabetic signs they accompanied and thus the subject matter of palaeography. Rankin’s new narrative succeeds on several levels. It offers a panoramic and nuanced view of Carolingian music notation that deftly","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"317 - 321"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S026112791900007X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48532990","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/s0261127919000093
{"title":"EMH volume 38 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127919000093","DOIUrl":"https://doi.org/10.1017/s0261127919000093","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127919000093","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47529812","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 : 2019-09-01DOI: 10.1017/S0261127919000020
Agnese Pavanello
Abstract The mass O Venus bant by Gaspar van Weerbeke enjoyed notable fame and diffusion, as shown by the considerable number of surviving copies. This study formulates a new hypothesis about the origin of the mass. An examination of the transmission of the mass suggests a new scenario for its composition in Milan in connection with a major political event: the alliance of the Duchy of Milan and the Duchy of Savoy with Charles the Bold in 1475. The choice of a Flemish cantus firmus is thus linked to a specific occasion related to the region in which the melody originated. Since some compositional elements can be read as intentional references to the L’Homme armé tradition, the specific context proposed for the performance of the polyphonic cycle seems particularly plausible because it can be linked to the court of Burgundy both in terms of historical and political events, as well as on the compositional and symbolic level. Finally, the possibility that Gaspar van Weerbeke was the initiator of the musical tradition of polyphonic settings of the chanson O Venus bant is explored.
{"title":"A FLEMISH VENUS IN MILAN: GASPAR VAN WEERBEKE’S MISSA O VENUS BANT","authors":"Agnese Pavanello","doi":"10.1017/S0261127919000020","DOIUrl":"https://doi.org/10.1017/S0261127919000020","url":null,"abstract":"Abstract The mass O Venus bant by Gaspar van Weerbeke enjoyed notable fame and diffusion, as shown by the considerable number of surviving copies. This study formulates a new hypothesis about the origin of the mass. An examination of the transmission of the mass suggests a new scenario for its composition in Milan in connection with a major political event: the alliance of the Duchy of Milan and the Duchy of Savoy with Charles the Bold in 1475. The choice of a Flemish cantus firmus is thus linked to a specific occasion related to the region in which the melody originated. Since some compositional elements can be read as intentional references to the L’Homme armé tradition, the specific context proposed for the performance of the polyphonic cycle seems particularly plausible because it can be linked to the court of Burgundy both in terms of historical and political events, as well as on the compositional and symbolic level. Finally, the possibility that Gaspar van Weerbeke was the initiator of the musical tradition of polyphonic settings of the chanson O Venus bant is explored.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"107 - 139"},"PeriodicalIF":0.3,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49579482","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 : 2019-03-06DOI: 10.1017/S0261127919000056
Adam Whittaker
The notational treatises of Johannes Tinctoris are among the most important texts on late fifteenth-century musical practice. His monumental treatise on the art of counterpoint, De arte contrapuncti, affords modern scholars a great insight into the intricacies of counterpoint practice on the cusp of the era of printed music theory. In the examples for this text, Tinctoris regularly uses additional markers to specify the key passages he is discussing. These signs often closely resemble signa congruentiae, though their function in these theoretical contexts is somewhat different from the deployment of such symbols in practical music sources. This article re-examines the historical justification for the term signa congruentiae, offering a new perspective on Tinctoris’s usage of such signs to explicate the rich text–example relationship underpinning his theoretical arguments and drawing attention to some novel uses of these signs that underpin these relationships.
{"title":"TINCTORIS AND SIGNA CONGRUENTIAE: A NEW PERSPECTIVE","authors":"Adam Whittaker","doi":"10.1017/S0261127919000056","DOIUrl":"https://doi.org/10.1017/S0261127919000056","url":null,"abstract":"The notational treatises of Johannes Tinctoris are among the most important texts on late fifteenth-century musical practice. His monumental treatise on the art of counterpoint, De arte contrapuncti, affords modern scholars a great insight into the intricacies of counterpoint practice on the cusp of the era of printed music theory. In the examples for this text, Tinctoris regularly uses additional markers to specify the key passages he is discussing. These signs often closely resemble signa congruentiae, though their function in these theoretical contexts is somewhat different from the deployment of such symbols in practical music sources. This article re-examines the historical justification for the term signa congruentiae, offering a new perspective on Tinctoris’s usage of such signs to explicate the rich text–example relationship underpinning his theoretical arguments and drawing attention to some novel uses of these signs that underpin these relationships.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"38 1","pages":"269 - 303"},"PeriodicalIF":0.3,"publicationDate":"2019-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127919000056","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49371857","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 : 2018-10-01DOI: 10.1017/S0261127918000074
Anne Heminger
Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.
{"title":"MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND","authors":"Anne Heminger","doi":"10.1017/S0261127918000074","DOIUrl":"https://doi.org/10.1017/S0261127918000074","url":null,"abstract":"Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"141 - 182"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000074","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45326918","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 : 2018-10-01DOI: 10.1017/S0261127918000050
Henry Parkes
Prior to the famous Hartker Antiphoner (Sankt Gallen, Stiftsbibliothek, Cod. 390/391), copied in Sankt Gallen c. 1000, there survives no complete, fully-notated witness to the Romano-Frankish chant repertory for the Office. Scholars have long known about the related tonary, possibly a decade older, in which the Sankt Gallen repertory is to be found ordered by melody. But unrecognised until now are the remains of a second tonary (Stadtarchiv Goslar, Handschriftenfragmente MThMu 1/1), datable to the early tenth century. The combined testimony of these two tonaries, together with other surviving fragments, is taken as the basis for a reassessment of the Office repertory in tenth-century Sankt Gallen. Nineteenth-century scholarship gave Hartker’s Antiphoner an arguably undeserved reputation as an authorised monument of Gregorian Chant. This view seems unsustainable in the light of many apparent editorial interventions, yet it may be precisely what the monks had set out to achieve.
{"title":"BEHIND HARTKER’S ANTIPHONER: NEGLECTED FRAGMENTS OF THE EARLIEST SANKT GALLEN TONARY","authors":"Henry Parkes","doi":"10.1017/S0261127918000050","DOIUrl":"https://doi.org/10.1017/S0261127918000050","url":null,"abstract":"Prior to the famous Hartker Antiphoner (Sankt Gallen, Stiftsbibliothek, Cod. 390/391), copied in Sankt Gallen c. 1000, there survives no complete, fully-notated witness to the Romano-Frankish chant repertory for the Office. Scholars have long known about the related tonary, possibly a decade older, in which the Sankt Gallen repertory is to be found ordered by melody. But unrecognised until now are the remains of a second tonary (Stadtarchiv Goslar, Handschriftenfragmente MThMu 1/1), datable to the early tenth century. The combined testimony of these two tonaries, together with other surviving fragments, is taken as the basis for a reassessment of the Office repertory in tenth-century Sankt Gallen. Nineteenth-century scholarship gave Hartker’s Antiphoner an arguably undeserved reputation as an authorised monument of Gregorian Chant. This view seems unsustainable in the light of many apparent editorial interventions, yet it may be precisely what the monks had set out to achieve.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"183 - 246"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127918000050","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42701121","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 : 2018-10-01DOI: 10.1017/s0261127918000086
{"title":"EMH volume 37 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0261127918000086","DOIUrl":"https://doi.org/10.1017/s0261127918000086","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"37 1","pages":"f1 - f8"},"PeriodicalIF":0.3,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127918000086","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44753619","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：