Pub Date : 2015-09-23DOI: 10.1017/S0261127915000030
D. Filippi
Abstract The musical activities connected with the teaching of Christian doctrine in the early modern era have failed to attract substantial scholarly attention. In fact, the noteworthy and by no means obvious association between singing and catechism is a longue durée phenomenon, and one of the most ubiquitous and characteristic elements of Catholic sonic cultures in the period 1550–1800. Interconnected as these practices are with many different aspects of early modern culture, their study raises questions and offers insights not only on musical issues, but on problems of interdisciplinary relevance. The present essay discusses their role in the pastoral work of early modern Jesuits and, conversely, the role of the Society of Jesus in the development of this tradition. Three different phases are examined: the export of the method from Spain to Italy in the sixteenth century; its adaptation to the French environment in the early seventeenth century; its further development in the golden age of popular missions.
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Pub Date : 2014-08-29DOI: 10.1017/S0261127914000060
J. Llewellyn
tion remains to be seen. Grier’s claim that the same scribe notated the whole of the first layer of Pa 1121 is similarly difficult to verify. The simplest initial comparison is with the Proser (fols. 196–201) as many of the same sequence melodies are recorded there, albeit now texted with accompanying prose. In general terms, the notation in the Proser is thinner in the width of its strokes and the vertical strokes in both text and notation are more upright. These general features can be observed in the sharper ascent and acuter descent in the clivis, and the more erect quilisma and liquescent pes. An additional difference in formation can be observed in the flatter execution of the final stroke of the pes stratus. Significant caveats may therefore be raised about Grier’s claim to have identified Adémar’s neumes throughout the bulk of Pa 1121 and Pa 909. This is not to say that his claims are wrong; the point is rather that his assertions remain unsubstantiated. It might be that Grier goes on to prove his case in the promised forthcoming palaeographic study. Until he does, the claim that this edition represents the opera liturgica et poetica of Adémar of Chabannes must await further elucidation.
{"title":"Emma Dillon, The Sense of Sound: Musical Meaning in France, 1260–1330 (New York and Oxford: Oxford University Press, 2012). xxvi+368 pp. ISBN 978-0-19-973295-1.","authors":"J. Llewellyn","doi":"10.1017/S0261127914000060","DOIUrl":"https://doi.org/10.1017/S0261127914000060","url":null,"abstract":"tion remains to be seen. Grier’s claim that the same scribe notated the whole of the first layer of Pa 1121 is similarly difficult to verify. The simplest initial comparison is with the Proser (fols. 196–201) as many of the same sequence melodies are recorded there, albeit now texted with accompanying prose. In general terms, the notation in the Proser is thinner in the width of its strokes and the vertical strokes in both text and notation are more upright. These general features can be observed in the sharper ascent and acuter descent in the clivis, and the more erect quilisma and liquescent pes. An additional difference in formation can be observed in the flatter execution of the final stroke of the pes stratus. Significant caveats may therefore be raised about Grier’s claim to have identified Adémar’s neumes throughout the bulk of Pa 1121 and Pa 909. This is not to say that his claims are wrong; the point is rather that his assertions remain unsubstantiated. It might be that Grier goes on to prove his case in the promised forthcoming palaeographic study. Until he does, the claim that this edition represents the opera liturgica et poetica of Adémar of Chabannes must await further elucidation.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"33 1","pages":"271 - 276"},"PeriodicalIF":0.3,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127914000060","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439208","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 : 2014-08-29DOI: 10.1017/S0261127913000132
M. Steib
Modena, Biblioteca Estense, MS α.M.1.13 (ModD) is a collection of masses compiled in Ferrara around 1480 for the court of Ercole I d'Este. Although several scholars have argued that the changes in ModD were the result of composers reworking their own music or intervention by the scribe, the situation is far more complex. Through a careful examination of the textual and musical changes in ModD, this essay substantiates three hypotheses: that ModD had a separate and independent editor (Johannes Martini) apart from the scribe who copied it (Fra Filippo), and that both tampered with the music to a different extent; that the reasons behind the changes were in part politically and religiously motivated; and finally that several of the masses in ModD contain sections written by someone other than their original composer, a practice that may have been more common than we currently believe.
Modena, Biblioteca Estense, MS α.M.1.13 (ModD)是1480年左右在费拉拉为埃尔科尔·伊德·埃斯特宫廷编写的弥撒集。尽管一些学者认为，ModD的变化是作曲家重新创作自己的音乐或抄写员干预的结果，但情况要复杂得多。通过对《ModD》文本和音乐变化的仔细研究，本文提出了三个假设:除了抄写它的抄写员(菲利波)之外，《ModD》还有一个独立的编辑(约翰内斯·马蒂尼)，两人都在不同程度上篡改了音乐;这些变化背后的原因部分是出于政治和宗教动机;最后，ModD中的一些大众包含由其他人而不是其原始作曲家编写的部分，这种做法可能比我们目前认为的更常见。
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Pub Date : 2014-08-29DOI: 10.1017/s0261127914000047
{"title":"EMH volume 33 Cover and Back matter","authors":"","doi":"10.1017/s0261127914000047","DOIUrl":"https://doi.org/10.1017/s0261127914000047","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"33 1","pages":"b1 - b7"},"PeriodicalIF":0.3,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127914000047","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438815","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 : 2014-08-29DOI: 10.1017/S0261127914000011
Edward Nowacki
The article presents a new edition and English translation of the Latin music-theory treatise transmitted anonymously in Leipzig, Universitätsbibliothek, MS 1492, sometimes known as De musica et de transformatione specialiter, or simply the Sowa Anonymous (a reference to Heinrich Sowa's edition published in 1935). An introductory essay justifies the treatise's importance and gives reasons why a new edition is necessary. It also presents a complex case for dating the treatise to the eleventh century based on verbal and conceptual affinities with five other treatises of the era. The edition of the text is done to higher standards of orthographic accuracy than were observed in 1935 and corrects about twenty outright errors in Sowa's edition. It also includes the two embedded tonaries that Sowa omitted. The treatise is a crucial complementary witness to the state of music theory in the eleventh century.
本文介绍了一个新的版本和英文翻译的拉丁音乐理论论文匿名传播在莱比锡，Universitätsbibliothek, MS 1492，有时被称为De musica et De transformtransformone specialiter，或简单的索瓦匿名(参考海因里希索瓦的版本出版于1935年)。一篇介绍性的文章证明了论文的重要性，并给出了新版的必要性。它还提出了一个复杂的情况下，日期论文到十一世纪的基础上，口头和概念上的亲和力与其他五篇论文的时代。与1935年的版本相比，这一版本的正字法准确性更高，并纠正了索瓦版本中大约20个彻头彻尾的错误。它还包括Sowa省略的两个嵌入式音调。这篇论文是十一世纪音乐理论状况的重要补充见证。
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Pub Date : 2014-08-29DOI: 10.1017/S0261127913000119
M. Caldwell
Paris, Bibliothèque nationale de France, MS français 146 (fr. 146), a manuscript well known for its inclusion of the Roman de Fauvel, also provides an important, albeit understudied, contribution to the history surrounding the allegorical ‘flower of the lily’, or fleur-de-lis – a floral symbol central to fourteenth-century theology and French royal heraldry. In medieval France, the fleur-de-lis emerges through text and music as a symbol capable of invoking, and being invoked by, the Holy Trinity, the Virgin Mary and the Virtues, all in the interest of supporting the religious and monarchical well-being of France. This study argues that the persistent return to the fleur-de-lis throughout the dits, the Chronique metrique and most especially the music and text of Fauvel in fr. 146 offers a necessary link between sacred and heraldic symbology both within the manuscript as well as within the larger historical development of this allegorical flower.
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Pub Date : 2014-08-29DOI: 10.1017/S0261127914000059
S. Barrett
It is rare honour for a musicologist to have a work published in Corpus Christianorum, a series launched shortly after the Second World War by the Benedictine scholar Father Eligius Dekkers with the aim of providing scholarly editions of early Christian and medieval texts. James Grier has broken new ground by supplying the first volumes to include music. His chosen subject, Adémar of Chabannes (989–1034), has previously featured in the series as the author of a three-volume history of the Franks,1 which was written in part at his adopted abbey of St-Martial of Limoges, the institution that saw the defining moment in his career: the failed inauguration of a new apostolic liturgy for the abbey’s patron saint on 3 August 1029. The campaign to promote St Martial to the status of an apostle has been described several times; Grier has spent over two decades immersing himself in the associated manuscripts with music. These volumes represent the culmination of his own single-minded pursuit of what he has elsewhere termed ‘the most stupendous and successful scam of the entire Middle Ages’,2 gathering together for the first time the ritual component of Adémar’s output, which is described on the cover as his opera liturgica et poetica. The implications of the title become clear in the Introduction. The edition is described initially as a collection of items whose text and music were both copied by Adémar, in which dual capacity he recorded music and texts for the Mass and Offices of St Martial and his companions (i.e.
对于一位音乐学家来说，能在《基督教文集》上发表自己的作品是一种罕见的荣誉。《基督教文集》是本笃会学者Eligius Dekkers神父在第二次世界大战后不久创办的，旨在提供早期基督教和中世纪文本的学术版本。詹姆斯·格里尔(James Grier)首次提供了包含音乐的书籍，开创了新的局面。他所选择的主题，夏班的阿德萨玛(989-1034)，曾作为三卷本法兰克人历史的作者出现在本系列中，其中一部分是在他所收养的利摩日圣马夏尔修道院完成的，这个机构见证了他职业生涯的决定性时刻:1029年8月3日，为修道院的庇护圣人举行了一场失败的新使徒仪式。将圣马夏尔提升到使徒地位的运动已经被描述了好几次;格里尔花了二十多年的时间沉浸在与音乐相关的手稿中。这些卷代表了他自己一心一意追求的高潮，他在其他地方称之为“整个中世纪最惊人和最成功的骗局”，2第一次聚集了阿德萨玛产出的仪式部分，在封面上被描述为他的歌剧liturgica et poetica。标题的含义在引言中变得清晰。这一版本最初被描述为由阿德萨玛尔抄录的文本和音乐的集合，他以双重身份为圣马夏尔及其同伴的弥撒和办公室(即圣马夏尔)录制音乐和文本。
{"title":"James Grier (ed.), Ademari Cabannensis opera liturgica et poetica: Musica cum textibus. Corpus Christianorum Continuatio Mediaevalis 245 and 245A. Turnhout: Brepols, 2012. Volume 1: cxxxvii+697 pp. Volume 2: 468 pp. ISBN 9782503543987 and 9782503540900.","authors":"S. Barrett","doi":"10.1017/S0261127914000059","DOIUrl":"https://doi.org/10.1017/S0261127914000059","url":null,"abstract":"It is rare honour for a musicologist to have a work published in Corpus Christianorum, a series launched shortly after the Second World War by the Benedictine scholar Father Eligius Dekkers with the aim of providing scholarly editions of early Christian and medieval texts. James Grier has broken new ground by supplying the first volumes to include music. His chosen subject, Adémar of Chabannes (989–1034), has previously featured in the series as the author of a three-volume history of the Franks,1 which was written in part at his adopted abbey of St-Martial of Limoges, the institution that saw the defining moment in his career: the failed inauguration of a new apostolic liturgy for the abbey’s patron saint on 3 August 1029. The campaign to promote St Martial to the status of an apostle has been described several times; Grier has spent over two decades immersing himself in the associated manuscripts with music. These volumes represent the culmination of his own single-minded pursuit of what he has elsewhere termed ‘the most stupendous and successful scam of the entire Middle Ages’,2 gathering together for the first time the ritual component of Adémar’s output, which is described on the cover as his opera liturgica et poetica. The implications of the title become clear in the Introduction. The edition is described initially as a collection of items whose text and music were both copied by Adémar, in which dual capacity he recorded music and texts for the Mass and Offices of St Martial and his companions (i.e.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"23 1","pages":"259 - 271"},"PeriodicalIF":0.3,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127914000059","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438873","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 : 2014-08-29DOI: 10.1017/S0261127914000023
Eric Jas
This essay is a response to Rob Wegman's ‘The Other Josquin’, which was published in 2008 in the Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis. In his article, Wegman tried to demonstrate that certain works, such as the six-voice motet Inter natos mulierum, have unjustly been banned from Josquin's list of works and that an underlying methodological problem continues to distort our view of Josquin's oeuvre. In order to remedy the problem of ‘authorship as a truth-claim to be proved or disproved’, Wegman introduces the image of an ‘other’ Josquin. Even though authenticity continues to be a recurring issue in Josquin studies, Wegman's article did not lead to much of a response. The present article retraces Wegman's discussion of the authorship of Inter natos mulierum and takes a closer look at his arguments in an effort to determine if the introduction of ‘another’ Josquin could be to the benefit of present-day Josquin research, and what the results of adopting such an image might be.
这篇文章是对Rob Wegman 2008年发表在《Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis》上的《The Other Josquin》的回应。在他的文章中，Wegman试图证明某些作品，如六声圣歌《国际北约》，被不公正地从约斯金的作品列表中删除，并且一个潜在的方法问题继续扭曲我们对约斯金作品的看法。为了纠正“作者身份是一种有待证明或反驳的真理主张”的问题，韦格曼引入了一个“他者”乔斯金的形象。尽管真实性一直是Josquin研究中反复出现的问题，但Wegman的文章并没有引起太多回应。本文回顾了Wegman对《国际北约》作者身份的讨论，并仔细研究了他的论点，以确定引入“另一个”约斯金是否会对当今的约斯金研究有益，以及采用这样一个形象可能会带来什么结果。
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Pub Date : 2014-08-29DOI: 10.1017/S0261127913000120
Ross W. Duffin
The manuscript partbooks (CTB) preserved in the Special Collections Library at Case Western Reserve University in Cleveland, Ohio, offer no obvious signs as to their origins. The contents are almost exclusively by London composers and are carefully laid out in an apparently unique alternation of texted and untexted works, as if in performance order. Using clues from the contents, as well as from the physical state of the books, a connection is proposed to events surrounding the death of Prince Henry in late 1612, and marriage of Princess Elizabeth and the Elector Palatine in 1613.
{"title":"VOICES AND VIOLS, BIBLES AND BINDINGS: THE ORIGINS OF THE BLOSSOM PARTBOOKS","authors":"Ross W. Duffin","doi":"10.1017/S0261127913000120","DOIUrl":"https://doi.org/10.1017/S0261127913000120","url":null,"abstract":"The manuscript partbooks (CTB) preserved in the Special Collections Library at Case Western Reserve University in Cleveland, Ohio, offer no obvious signs as to their origins. The contents are almost exclusively by London composers and are carefully laid out in an apparently unique alternation of texted and untexted works, as if in performance order. Using clues from the contents, as well as from the physical state of the books, a connection is proposed to events surrounding the death of Prince Henry in late 1612, and marriage of Princess Elizabeth and the Elector Palatine in 1613.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"33 1","pages":"61 - 108"},"PeriodicalIF":0.3,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000120","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57439008","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 : 2014-08-29DOI: 10.1017/s0261127914000035
{"title":"EMH volume 33 Cover and Front matter","authors":"","doi":"10.1017/s0261127914000035","DOIUrl":"https://doi.org/10.1017/s0261127914000035","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"33 1","pages":"f1 - f6"},"PeriodicalIF":0.3,"publicationDate":"2014-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127914000035","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438783","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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