Pub Date : 2016-09-28DOI: 10.1017/S0261127916000097
A. Zurcher
{"title":"Katherine Butler, Music in Elizabethan Court Politics. Woodbridge: The Boydell Press, 2015. x + 260 pp. ISBN 978-1-84383-981-1.","authors":"A. Zurcher","doi":"10.1017/S0261127916000097","DOIUrl":"https://doi.org/10.1017/S0261127916000097","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"35 1","pages":"328 - 335"},"PeriodicalIF":0.3,"publicationDate":"2016-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127916000097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440416","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/s0261127916000012
{"title":"EMH volume 35 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s0261127916000012","DOIUrl":"https://doi.org/10.1017/s0261127916000012","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"35 1","pages":"f1 - f7"},"PeriodicalIF":0.3,"publicationDate":"2016-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127916000012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57440032","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 : 2015-09-23DOI: 10.1017/S0261127915000029
C. Getz
Abstract This essay examines the role of the hymns, the sacred polyphony by Vincenzo Pellegrini and Andrea Cima, and the spiritual madrigals of Giovanni Battista Porta in promoting the officially sanctioned image of Carlo Borromeo after his elevation to the status of ‘beato’ and following his canonisation. It further considers how the musical structures that characterised these works may have derived from other modes of textual presentation, in particular the sermons used to deliver the message in comparable settings. Finally, it explores how various styles of performance may have subliminally underscored certain constructed images of the archbishop and his city that developed in the years leading to the canonisation. San Carlo’s continued currency depended upon redefining his image according to changing social constructs. With the plague of 1630, Michel’angelo Grancini’s O sol & salus Carole returns to the event with which Borromeo’s sanctity was most closely identified, namely the penitential processions of 1576.
{"title":"CANONISING SAN CARLO: SERMONISING, THE SOUNDING WORD, AND IMAGE CONSTRUCTION IN THE MUSIC FOR CARLO BORROMEO","authors":"C. Getz","doi":"10.1017/S0261127915000029","DOIUrl":"https://doi.org/10.1017/S0261127915000029","url":null,"abstract":"Abstract This essay examines the role of the hymns, the sacred polyphony by Vincenzo Pellegrini and Andrea Cima, and the spiritual madrigals of Giovanni Battista Porta in promoting the officially sanctioned image of Carlo Borromeo after his elevation to the status of ‘beato’ and following his canonisation. It further considers how the musical structures that characterised these works may have derived from other modes of textual presentation, in particular the sermons used to deliver the message in comparable settings. Finally, it explores how various styles of performance may have subliminally underscored certain constructed images of the archbishop and his city that developed in the years leading to the canonisation. San Carlo’s continued currency depended upon redefining his image according to changing social constructs. With the plague of 1630, Michel’angelo Grancini’s O sol & salus Carole returns to the event with which Borromeo’s sanctity was most closely identified, namely the penitential processions of 1576.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"133 - 189"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127915000029","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439369","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 : 2015-09-23DOI: 10.1017/S0261127915000054
J. Gardner
Abstract The papacy and cardinalate in the period between Innocent III (1198–1216) and Benedict XI (1033–1304) can be shown to have had a wide range of musical interests. Papal inventories, testamentary legacies, chronicles and understudied visual evidence allow the piecing together of a lively and wide-ranging concern with music, liturgy and performance. The development of polyphonic music, the growing popularity of bells, and a lively interest among artists in portraying liturgical ceremonies and musical performance at the behest of their ecclesiastical clientele allow us to form a far more nuanced picture of the musical life of thirteenth-century Rome.
{"title":"THE CARDINALS’ MUSIC: MUSICAL INTERESTS AT THE PAPAL CURIA C. 1200–1304","authors":"J. Gardner","doi":"10.1017/S0261127915000054","DOIUrl":"https://doi.org/10.1017/S0261127915000054","url":null,"abstract":"Abstract The papacy and cardinalate in the period between Innocent III (1198–1216) and Benedict XI (1033–1304) can be shown to have had a wide range of musical interests. Papal inventories, testamentary legacies, chronicles and understudied visual evidence allow the piecing together of a lively and wide-ranging concern with music, liturgy and performance. The development of polyphonic music, the growing popularity of bells, and a lively interest among artists in portraying liturgical ceremonies and musical performance at the behest of their ecclesiastical clientele allow us to form a far more nuanced picture of the musical life of thirteenth-century Rome.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"97 - 132"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127915000054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439641","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 : 2015-09-23DOI: 10.1017/S0261127915000017
Daniel K. S. Walden
Abstract This article discusses a full-page schematic diagram contained in a twelfth-century manuscript of Boethius’ De institutione arithmetica and De institutione musica from Christ Church Cathedral, Canterbury (Cambridge University Library MS Ii.3.12), which has not yet been the subject of any significant musicological study despite its remarkable scope and comprehensiveness. This diagrammatic tree, or arbor, maps the precepts of the first book of De institutione arithmetica into a unified whole, depicting the ways music and arithmetic are interrelated as sub-branches of the quadrivium. I suggest that this schematic diagram served not only as a conceptual and interpretative device for the scribe working through Boethius’ complex theoretical material, but also as a mnemonic guide to assist the medieval pedagogue wishing to instruct students in the mathematics of musica speculativa. The diagram constitutes a fully developed theoretical exercise in its own right, while also demonstrating the roles Boethian philosophy and mathematics played in twelfth-century musical scholarship.
{"title":"CHARTING BOETHIUS: MUSIC AND THE DIAGRAMMATIC TREE IN THE CAMBRIDGE UNIVERSITY LIBRARY’S DE INSTITUTIONE ARITHMETICA, MS II.3.12","authors":"Daniel K. S. Walden","doi":"10.1017/S0261127915000017","DOIUrl":"https://doi.org/10.1017/S0261127915000017","url":null,"abstract":"Abstract This article discusses a full-page schematic diagram contained in a twelfth-century manuscript of Boethius’ De institutione arithmetica and De institutione musica from Christ Church Cathedral, Canterbury (Cambridge University Library MS Ii.3.12), which has not yet been the subject of any significant musicological study despite its remarkable scope and comprehensiveness. This diagrammatic tree, or arbor, maps the precepts of the first book of De institutione arithmetica into a unified whole, depicting the ways music and arithmetic are interrelated as sub-branches of the quadrivium. I suggest that this schematic diagram served not only as a conceptual and interpretative device for the scribe working through Boethius’ complex theoretical material, but also as a mnemonic guide to assist the medieval pedagogue wishing to instruct students in the mathematics of musica speculativa. The diagram constitutes a fully developed theoretical exercise in its own right, while also demonstrating the roles Boethian philosophy and mathematics played in twelfth-century musical scholarship.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"207 - 228"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127915000017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439289","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 : 2015-09-23DOI: 10.1017/S0261127915000042
M. McGowan
Abstract This essay studies the role played by Marguerite de Valois in the cultural life of the French court from early childhood until her death in 1615. Trained to perform in public, Marguerite acquired languages and diplomatic skills, and cultivated music and dancing in particular. Her passion for dancing and the energy and mastery she displayed in performance is traced through the testimony of contemporary records (French, Italian and English), through her own recollections, and through a discussion of her patronage of musicians, poets and dancers.
{"title":"MARGUERITE DE VALOIS, REINE DE NAVARRE (1553–1615): PATRONESS AND PERFORMER","authors":"M. McGowan","doi":"10.1017/S0261127915000042","DOIUrl":"https://doi.org/10.1017/S0261127915000042","url":null,"abstract":"Abstract This essay studies the role played by Marguerite de Valois in the cultural life of the French court from early childhood until her death in 1615. Trained to perform in public, Marguerite acquired languages and diplomatic skills, and cultivated music and dancing in particular. Her passion for dancing and the energy and mastery she displayed in performance is traced through the testimony of contemporary records (French, Italian and English), through her own recollections, and through a discussion of her patronage of musicians, poets and dancers.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"191 - 206"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127915000042","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439554","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 : 2015-09-23DOI: 10.1017/S0261127915000066
A. Fisher
Abstract A venerable form of petitionary prayer, the litany emerged as a key aural expression of Counter-Reformation Catholicism around the turn of the seventeenth century, particularly in the confessionally contested borderlands of the Holy Roman Empire. Its explicit projection of the dogma of sanctoral intercession, rejected soundly by Protestant theologians, helped to make the litany a flashpoint for religious controversy. Especially in the duchy of Bavaria, the northern bastion of the Counter-Reformation, the litany flourished in a wide variety of monophonic and polyphonic forms that reflected its fluid position on a spectrum between oral and written traditions. This essay explores the usage and significance of the litany in Counter-Reformation Germany, focusing especially upon the Thesaurus litaniarum (Treasury of Litanies, 1596) by Georg Victorinus, music director of the Munich Jesuits. Intimately connected with currents of Catholic reform in German-speaking lands, this great anthology illustrates the varied and creative ways in which composers responded to the litany’s distinctive ebb and flow of titles and petitions to holy intercessors.
{"title":"THESAURUS LITANIARUM: THE SYMBOLISM AND PRACTICE OF MUSICAL LITANIES IN COUNTER-REFORMATION GERMANY","authors":"A. Fisher","doi":"10.1017/S0261127915000066","DOIUrl":"https://doi.org/10.1017/S0261127915000066","url":null,"abstract":"Abstract A venerable form of petitionary prayer, the litany emerged as a key aural expression of Counter-Reformation Catholicism around the turn of the seventeenth century, particularly in the confessionally contested borderlands of the Holy Roman Empire. Its explicit projection of the dogma of sanctoral intercession, rejected soundly by Protestant theologians, helped to make the litany a flashpoint for religious controversy. Especially in the duchy of Bavaria, the northern bastion of the Counter-Reformation, the litany flourished in a wide variety of monophonic and polyphonic forms that reflected its fluid position on a spectrum between oral and written traditions. This essay explores the usage and significance of the litany in Counter-Reformation Germany, focusing especially upon the Thesaurus litaniarum (Treasury of Litanies, 1596) by Georg Victorinus, music director of the Munich Jesuits. Intimately connected with currents of Catholic reform in German-speaking lands, this great anthology illustrates the varied and creative ways in which composers responded to the litany’s distinctive ebb and flow of titles and petitions to holy intercessors.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"45 - 95"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127915000066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439344","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 : 2015-09-23DOI: 10.1017/s0261127915000091
Amanda Porterfield
http://journals.cambridge.org/pmm Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to articles embodying original research, the journal publishes book reviews, an annual bibliography of chant research and an annual discography of chant recordings. To subscribe contact Customer Services
{"title":"EMH volume 34 issue 1 Cover and Back matter","authors":"Amanda Porterfield","doi":"10.1017/s0261127915000091","DOIUrl":"https://doi.org/10.1017/s0261127915000091","url":null,"abstract":"http://journals.cambridge.org/pmm Plainsong & Medieval Music is published twice a year in association with the Plainsong and Medieval Music Society and Cantus Planus, study group of the International Musicological Society. It covers the entire spectrum of medieval music: Eastern and Western chant, secular lyric, music theory, palaeography, performance practice, and medieval polyphony, both sacred and secular, as well as the history of musical institutions. The chronological scope of the journal extends from late antiquity to the early Renaissance and to the present day in the case of chant. In addition to articles embodying original research, the journal publishes book reviews, an annual bibliography of chant research and an annual discography of chant recordings. To subscribe contact Customer Services","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"34 1","pages":"b1 - b8"},"PeriodicalIF":0.3,"publicationDate":"2015-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127915000091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439855","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 : 2015-09-23DOI: 10.1017/S0261127915000078
Karl Kügle
The relationship of text and music has long been a subject of spirited debate. Examples range from Richard Strauss’s Konversationsstück für Musik, Capriccio (1940–1), via Giambattista Casti and Antonio Salieri’s satirical divertimento teatrale Prima la musica e poi le parole (1786) to the Artusi–Monteverdi controversy of the early 1600s. Such debates about the primacy of one art over the other largely depend on the assumption that composing poetry and music are two mutually independent, autonomous métiers. This has been the mainstream point of view – and indeed the practice – for a long time now, although counter-examples may be found, even in recent times: outside the realmof ‘art’music, the twentieth-century figure of the singer-songwriter comes to mind, and within it, composers who write their own librettos, most prominently Richard Wagner. Modern scholars have expended considerable time in trying to identify the earliest moment of the presumptive ‘divorce’ of poetry and music. Scholars of Romance languages tend to situate this emancipatory event somewhere in the fourteenth century. One cause célèbre is Eustache Deschamps’s L’art de dictier (1392). For the vernaculars of the Italian peninsula, Dante’s De vulgari eloquentia (1305) is often cited as an early witness to poetry and song starting to go their separate ways, as are the Paduan Antonio da Tempo’s Summa artis rithimici vulgaris dictaminis (1332) and the Florentine Franco Sacchetti (1335–1400). It is worth noting that no such discussion seems to have arisen for Spanish,
长期以来，文本与音乐的关系一直是一个激烈争论的话题。例子包括理查德·施特劳斯的《对话》、《 ck音乐》、《随想曲》(1940-1)、扬巴蒂斯塔·卡斯蒂和安东尼奥·萨列里的讽刺娱乐曲《剧院的第一音乐》(1786)，以及17世纪初阿图西和蒙特威尔第的争议。这种关于一种艺术比另一种艺术更重要的争论很大程度上依赖于这样一种假设，即诗歌创作和音乐创作是两种相互独立、自主的活动。这一直是主流观点——实际上是实践——很长一段时间以来，尽管反例可能被发现，甚至在最近的时代:在“艺术”音乐的领域之外，20世纪的歌手和词曲作者浮现在脑海中，在其中，作曲家自己写剧本，最突出的是理查德·瓦格纳。现代学者花了相当多的时间试图确定诗歌和音乐假定“分离”的最早时刻。研究罗曼语的学者倾向于将这一解放事件定位于14世纪。其中一个原因是尤斯塔什·德尚(Eustache Deschamps) 1392年的《狄狄的艺术》(L’art de dictier)。对于意大利半岛的方言来说，但丁的《俗语论》(1305)经常被引用为诗歌和歌曲开始分道扬镳的早期见证，就像帕多瓦·安东尼奥·达·Tempo的《Summa artis rithimici vulgaris dictaminis》(1332)和佛罗伦萨的佛朗哥·萨切蒂(1335-1400)一样。值得注意的是，西班牙语似乎没有这样的讨论，
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Pub Date : 2015-09-23DOI: 10.1017/s026112791500008x
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