Pub Date : 2017-09-12DOI: 10.1017/s0261127917000067
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Pub Date : 2017-08-04DOI: 10.1017/S0261127917000055
Sean Curran
Though recent discoveries have improved our understanding of big, melismatic hockets from the late thirteenth century, there remains a pervasive uncertainty as to how hockets should be defined and identified on the small scale at which they characteristically manifest in thirteenth-century motets. In revisiting the mensural theorists up to Franco of Cologne, it was found that only Franco defines hockets as multi-voice phenomena: earlier texts define the hocket at the level of a single perfection, and as it reveals itself in the breaking of a single performing voice. Under a revised definition, 138 motet texts that use hockets have been identified in the Ars antiqua repertory. It was also found that another way of hearing the hocket, compatible with the first, is implied by Lambertus and pursued at length by the St. Emmeram Anonymous. These writers acknowledge but depart from the consensus that the hocket is sonically fragmented, also hearing it as a promise of the coordination achievable when musical time is measured. For St. Emmeram especially, the hocket has a dual character: its sonic fragmentation is contrived through integrated planning. To hear hockets integratively is difficult, and requires an effort of will that for this theorist has moral stakes. The final sections of the article analyse the musicopoetic games of the motet Dame de valour (71)/Dame vostre douz regart (72)/Manere (M5). Similarly to the St. Emmeram theorist, the piece self-consciously highlights the difficulty and worth of close listening (a theme inspired by its tenor’s scriptural source), and does so with a hocket that marks a complementarity of breaking and integration, of a formal sort, several decades before Lambertus and St. Emmeram would reflect on the hocket’s dual character theoretically. The motet poses artfully some of the same questions about the audibility of form that preoccupy modern scholarship. These voices from the thirteenth century might remind us that ethical debates about correct listening are much older than current disciplinary concerns. But recognising the longevity of the debates does not force us to agree with old positions.
{"title":"HOCKETS BROKEN AND INTEGRATED IN EARLY MENSURAL THEORY AND AN EARLY MOTET","authors":"Sean Curran","doi":"10.1017/S0261127917000055","DOIUrl":"https://doi.org/10.1017/S0261127917000055","url":null,"abstract":"Though recent discoveries have improved our understanding of big, melismatic hockets from the late thirteenth century, there remains a pervasive uncertainty as to how hockets should be defined and identified on the small scale at which they characteristically manifest in thirteenth-century motets. In revisiting the mensural theorists up to Franco of Cologne, it was found that only Franco defines hockets as multi-voice phenomena: earlier texts define the hocket at the level of a single perfection, and as it reveals itself in the breaking of a single performing voice. Under a revised definition, 138 motet texts that use hockets have been identified in the Ars antiqua repertory. It was also found that another way of hearing the hocket, compatible with the first, is implied by Lambertus and pursued at length by the St. Emmeram Anonymous. These writers acknowledge but depart from the consensus that the hocket is sonically fragmented, also hearing it as a promise of the coordination achievable when musical time is measured. For St. Emmeram especially, the hocket has a dual character: its sonic fragmentation is contrived through integrated planning. To hear hockets integratively is difficult, and requires an effort of will that for this theorist has moral stakes. The final sections of the article analyse the musicopoetic games of the motet Dame de valour (71)/Dame vostre douz regart (72)/Manere (M5). Similarly to the St. Emmeram theorist, the piece self-consciously highlights the difficulty and worth of close listening (a theme inspired by its tenor’s scriptural source), and does so with a hocket that marks a complementarity of breaking and integration, of a formal sort, several decades before Lambertus and St. Emmeram would reflect on the hocket’s dual character theoretically. The motet poses artfully some of the same questions about the audibility of form that preoccupy modern scholarship. These voices from the thirteenth century might remind us that ethical debates about correct listening are much older than current disciplinary concerns. But recognising the longevity of the debates does not force us to agree with old positions.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"36 1","pages":"31 - 104"},"PeriodicalIF":0.3,"publicationDate":"2017-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127917000055","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42764246","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 : 2016-09-28DOI: 10.1017/S0261127916000073
I. M. Groote, Dietrich Hakelberg
Recent research on the library of Johann Caspar Trost the Elder, organist in Halberstadt, has led to the identification of a manuscript with two unknown treatises on musica poetica, one a lost treatise by Johann Hermann Schein and the other an unknown treatise by Michael Altenburg. Together they offer fresh insights into the learning and teaching of music in the early modern period. The books once owned by Trost also have close connections to his personal and professional life. This article situates the newly discovered manuscript in the framework of book history and Trost’s biography, and discusses the two treatises against the background of contemporary books of musical instruction (Calvisius, Lippius, or Finolt). The historical context of the manuscript, its theoretical sources and its origins all serve to contribute to and further the current understanding of musical education in early modern central Germany. An edition of the treatises is provided.
最近对哈尔伯施塔特(Halberstadt)的风琴手约翰·卡斯帕·特罗斯特(Johann Caspar Trost the Elder)的图书馆进行的研究，发现了一份手稿，其中有两篇关于音乐诗歌的未知论文，一篇是约翰·赫尔曼·沙因(Johann Hermann Schein)的失传论文，另一篇是迈克尔·阿尔滕堡(Michael Altenburg)的未知论文。他们一起为早期现代音乐的学习和教学提供了新的见解。特罗斯特曾经拥有的书籍也与他的个人生活和职业生活密切相关。本文将新发现的手稿置于书籍史和特罗斯特传记的框架中，并在当代音乐教学书籍(卡尔维西乌斯，利皮乌斯或菲诺特)的背景下讨论这两篇论文。手稿的历史背景，它的理论来源和起源都有助于促进和促进当前对早期现代德国中部音乐教育的理解。提供了这些论文的一个版本。
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Pub Date : 2016-09-28DOI: 10.1017/S0261127916000024
John T. Brobeck
Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.
1976年，路易丝·利特里克提出，剑桥，马格达莱纳学院，佩皮斯图书馆MS 1760最初是为法国的路易十二和布列塔尼的安妮准备的，但在1509年被送给了英格兰的亨利八世。这份手稿实际上是路易在1514年送给他第三任妻子玛丽都铎的结婚礼物，然而，从它的装饰和文字图像可以看出，它反映了路易送给玛丽的一本小时书的装饰，以及她四篇皇室条目中使用的文字图像。对手稿的表格和文本的分析表明，MS 1760是由路易的教堂主人Hilaire Bernonneau(1524年)在国王的命令下计划的。新的理论阐明了加斯康尼的十二声正典Ista est speciosa的内容和意义，它出现在玛丽都铎的原始肖像下面，旨在反映圣母玛利亚和她的“教子”玛丽的完美。
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Pub Date : 2016-09-28DOI: 10.1017/S0261127916000036
Stephanie Carter
John Playford dominated the commercial music publishing trade of mid-seventeenth-century England, encouraging musical literacy and supplying beginner books for the growing domestic amateur musical class. Playford was clearly aware of the need to attract as many customers as possible in order to succeed in a commercial business; however, very little is known about his customers. This article identifies the contemporary audiences of seventeenth-century English printed music books, building on previous scholarship including Alec Hyatt King’s Some British Collectors of Music c. 1600–1900 (1963), and provides an initial record of provenance marks in surviving copies of the publications. Placing the printed book and its customer within the wider context of music-making and bookselling in seventeenth-century England develops our understanding of the social dimensions of the printed music trade, including dissemination and distribution networks.
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Pub Date : 2016-09-28DOI: 10.1017/S0261127916000061
H. Deeming
In four quatrefoiled roundels, a centaur aims its bow, a mermaid (or -man) bends over to touch its own tail, an eight-limbed womanspider looks aghast with palms turned out, and a bird-siren clutches one hand to her cheek in a gesture of despair. With such images, taken from a copy of the Ovide moralisé dated to c. 1325, is the cover of Anna Zayaruznaya’s fascinating and compelling exploration of the monstrous in the fourteenth-century motet illustrated: author and publishermust have been spoilt for choice in terms of cover illustrations, given the ubiquity of hybrid and monstrous bodies on the pages and in the margins of medieval illuminated manuscripts. Such images attest to the latemedieval fascination withmonstrosity, particularly in the form of divided or grafted bodies: beyond the relatively conventional sirens and centaurs such as those pictured here, artists experimented with splicing human heads or torsos onto a variety of legs or tails, and in some cases disrupted bodily order still further by transposing the body parts, arse above face. In narrative works, particularly bestiaries, the meanings of bodies, real and imagined, were explored, and the theme of transformation of bodies was likewise well rehearsed in medieval texts, many drawing inspiration fromOvid, whoseMetamorphoses circulated widely in both Latin and vernacular versions. The opening lines of theMetamorphoses, ‘In nova fert animus mutatas dicere formas / corpora’ (‘Of bodies chang’d to various forms I sing’, in the English verse translation of 1717), were quoted – appropriately
在四个四翼的圆形图案中，一个半人马瞄准弓，一个美人鱼(或人)弯下腰去摸自己的尾巴，一个八只脚的女蜘蛛伸出手掌，看起来很惊恐，一个鸟妖用一只手捂着脸颊，做出绝望的手势。安娜·扎亚鲁兹纳亚(Anna Zayaruznaya)对14世纪圣歌中的怪物进行了引人入胜的、引人注目的探索。鉴于中世纪彩绘手稿的书页和空白处到处都是混血和怪物的身体，作者和出版商在封面插图方面肯定选择得太多了。这些图像证明了中世纪晚期对怪物的迷恋，特别是以分裂或移植的身体形式:除了相对传统的塞壬和半人半马，如上图所示，艺术家们尝试将人的头部或躯干拼接到各种腿或尾巴上，在某些情况下，通过改变身体部位，臀部高于面部，进一步破坏了身体秩序。在叙述者的作品中，尤其是动物寓言，身体的意义，无论是真实的还是想象的，都被探索过，而身体变形的主题同样在中世纪的文本中得到了很好的排练，许多人从电影中获得灵感，电影的《变形记》在拉丁语和白话版本中广泛流传。《变形记》的开头几句“In nova fert animus mutatas dicere formas / corpora”(在1717年的英诗译本中，“我唱的是各种形式的身体”)被恰当地引用
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Pub Date : 2016-09-28DOI: 10.1017/S0261127916000048
S. Rose
In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
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Pub Date : 2016-09-28DOI: 10.1017/S026112791600005X
E. Thelen
Devotion to the Virgin of Seven Sorrows flourished in the Low Countries in the late fifteenth century during a period of recovery from civil war, famine and economic instability. The Burgundian-Habsburg court took a special interest in this popular lay movement and, in an unusual move, sponsored a competition to generate a liturgy – a plainchant office and mass – for the growing devotion. This article identifies new sources for the text and music of the Seven Sorrows liturgy and ties them to the court’s competition. An examination of the surviving office and mass demonstrates the texts’ dependence on an earlier Marian celebration of the Compassion of the Virgin. The reworking of this older devotion reveals that the plainchant competition and the creation of the new Seven Sorrows liturgy were part of the court’s political agenda of restoring peace and unity to their territories.
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Pub Date : 2016-09-28DOI: 10.1017/S0261127916000085
G. McDonald
magnifying its most characteristic features in the course of embodying them’ (p. 232), and the entirety of this final discussion must become required reading for anyone wishing to generate a historically sensitive analysis of medieval music henceforth. In sum, The Monstrous New Art is not only a fascinating exploration of an exciting topic (the monstrous in ars novamusic) but a book of much wider importance. Future work that addresses medieval motets, the analysis of any early music, and the question of how texts and music relate in the pre-Renaissance repertory will be much the richer for taking account of it. The text is copiously and helpfully illustrated,admirably lucid and highly pleasurable to read: though the analyses demand a lot from the reader because of their complexity and subtlety, they produce ample rewards, and I look forward to introducing this book to advanced undergraduate and graduate student readers as amodel of engaging and persuasive analytical writing.
{"title":"Hyun-Ah Kim, The Renaissance Ethics of Music: Singing, Contemplation and Musica Humana. London: Pickering & Chatto, 2015. xii+181 pp. £95.00. ISBN-10: 1848935498; ISBN-13: 978-1848935495.","authors":"G. McDonald","doi":"10.1017/S0261127916000085","DOIUrl":"https://doi.org/10.1017/S0261127916000085","url":null,"abstract":"magnifying its most characteristic features in the course of embodying them’ (p. 232), and the entirety of this final discussion must become required reading for anyone wishing to generate a historically sensitive analysis of medieval music henceforth. In sum, The Monstrous New Art is not only a fascinating exploration of an exciting topic (the monstrous in ars novamusic) but a book of much wider importance. Future work that addresses medieval motets, the analysis of any early music, and the question of how texts and music relate in the pre-Renaissance repertory will be much the richer for taking account of it. The text is copiously and helpfully illustrated,admirably lucid and highly pleasurable to read: though the analyses demand a lot from the reader because of their complexity and subtlety, they produce ample rewards, and I look forward to introducing this book to advanced undergraduate and graduate student readers as amodel of engaging and persuasive analytical writing.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"35 1","pages":"323 - 327"},"PeriodicalIF":0.3,"publicationDate":"2016-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127916000085","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440301","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 : 2016-09-28DOI: 10.1017/s0261127916000103
{"title":"EMH volume 35 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s0261127916000103","DOIUrl":"https://doi.org/10.1017/s0261127916000103","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"35 1","pages":"b1 - b4"},"PeriodicalIF":0.3,"publicationDate":"2016-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127916000103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440503","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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