Pub Date : 2013-09-27DOI: 10.1017/s0261127913000107
{"title":"EMH volume 32 Cover and Back matter","authors":"","doi":"10.1017/s0261127913000107","DOIUrl":"https://doi.org/10.1017/s0261127913000107","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"b1 - b3"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0261127913000107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438752","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 : 2013-09-27DOI: 10.1017/S0261127913000041
Thomas Schmidt-Beste
As one of the more striking contrapuntal devices of late thirteenth- and fourteenth-century polyphony, the hocket has been studied at great length. Until recently, however, little attention has been paid to the question how this texture accommodates the verbal text with which it often appears: as it breaks up a musical phrase into small segments separated by rests, it often necessitates a breaking up of the words themselves. Already some contemporaries had condemned this as one of the principal defects of the hocket, and most modern editors (implicitly or explictly agreeing with these comments) have sidestepped the issue by moving the text as much as possible to non-hocketed sections of the music. This article attempts to take a positive view of the ways in which words were matched to notes in the hocket. It distinguishes between ‘unbroken hockets’ – where the words and the notes are devised and deployed in such a fashion that word breaks and rests coincide – and ‘broken hockets’. In the latter, it is argued that the way in which words are split up is by design and not happenstance; taking the etymological meaning of ‘hocket’=‘hiccup’ as a point of departure, it is shown that the most logical way to bridge the rests is not between syllables, but in the middle of syllables. This solution is corroborated not only by etymology, but also by the underlay in the sources, by the compositions themselves (in which by virtue of this ‘hiccup underlay’ musical phrases and text phrase match seamlessly, as elsewhere in the repertory) and by some theoretical evidence as well.
{"title":"SINGING THE HICCUP – ON TEXTING THE HOCKET","authors":"Thomas Schmidt-Beste","doi":"10.1017/S0261127913000041","DOIUrl":"https://doi.org/10.1017/S0261127913000041","url":null,"abstract":"As one of the more striking contrapuntal devices of late thirteenth- and fourteenth-century polyphony, the hocket has been studied at great length. Until recently, however, little attention has been paid to the question how this texture accommodates the verbal text with which it often appears: as it breaks up a musical phrase into small segments separated by rests, it often necessitates a breaking up of the words themselves. Already some contemporaries had condemned this as one of the principal defects of the hocket, and most modern editors (implicitly or explictly agreeing with these comments) have sidestepped the issue by moving the text as much as possible to non-hocketed sections of the music. This article attempts to take a positive view of the ways in which words were matched to notes in the hocket. It distinguishes between ‘unbroken hockets’ – where the words and the notes are devised and deployed in such a fashion that word breaks and rests coincide – and ‘broken hockets’. In the latter, it is argued that the way in which words are split up is by design and not happenstance; taking the etymological meaning of ‘hocket’=‘hiccup’ as a point of departure, it is shown that the most logical way to bridge the rests is not between syllables, but in the middle of syllables. This solution is corroborated not only by etymology, but also by the underlay in the sources, by the compositions themselves (in which by virtue of this ‘hiccup underlay’ musical phrases and text phrase match seamlessly, as elsewhere in the repertory) and by some theoretical evidence as well.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"225 - 275"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000041","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438540","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 : 2013-09-27DOI: 10.1017/S0261127913000016
C. A. Bradley
Dated to the 1240s, the Florence manuscript (F: Biblioteca Medicea Laurenziana, Plut. 29.1) is the earliest surviving source to contain a collection of motets. The exclusively Latin-texted motets in F are widely regarded as the oldest layer(s) of pieces in this new genre. This study closely analyses three motets in F, demonstrating that they are Latin contrafacta reworkings of vernacular motets extant only in chronologically later sources. It traces the influences of secular, vernacular refrains in two supposedly liturgical clausulae in F, proposing that these clausulae are textless transcriptions of French motets, and engages with wider questions concerning scribal practices, the relationship between sine littera and cum littera notations and issues of consonance and dissonance. Reasons as to why clausulae might have been transcribed in F and the possible extent of vernacular influences in this manuscript are explored. These findings challenge established chronological narratives of motet development. The three case studies offer methodological models, demonstrating ways in which relationships between clausulae and Latin and French motets can be tested and their relative chronologies established.
{"title":"CONTRAFACTA AND TRANSCRIBED MOTETS: VERNACULAR INFLUENCES ON LATIN MOTETS AND CLAUSULAE IN THE FLORENCE MANUSCRIPT","authors":"C. A. Bradley","doi":"10.1017/S0261127913000016","DOIUrl":"https://doi.org/10.1017/S0261127913000016","url":null,"abstract":"Dated to the 1240s, the Florence manuscript (F: Biblioteca Medicea Laurenziana, Plut. 29.1) is the earliest surviving source to contain a collection of motets. The exclusively Latin-texted motets in F are widely regarded as the oldest layer(s) of pieces in this new genre. This study closely analyses three motets in F, demonstrating that they are Latin contrafacta reworkings of vernacular motets extant only in chronologically later sources. It traces the influences of secular, vernacular refrains in two supposedly liturgical clausulae in F, proposing that these clausulae are textless transcriptions of French motets, and engages with wider questions concerning scribal practices, the relationship between sine littera and cum littera notations and issues of consonance and dissonance. Reasons as to why clausulae might have been transcribed in F and the possible extent of vernacular influences in this manuscript are explored. These findings challenge established chronological narratives of motet development. The three case studies offer methodological models, demonstrating ways in which relationships between clausulae and Latin and French motets can be tested and their relative chronologies established.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"1 - 70"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57437810","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 : 2013-09-27DOI: 10.1017/S0261127913000053
G. Varelli
In the tenth century, when the earliest chant books were being compiled in the heart of the Carolingian Empire and polyphonic music was entering the realm of theoretical speculation in the anonymous writings of Musica enchiriadis and Scolica enchiriadis, organa were also being notated for performance outside music treatises. We would not know this, were it not for a two-voice organum on an antiphon for Saint Boniface written in the first decades of the tenth century on the last page of a long-neglected manuscript, now in the British Library. A second notated antiphon, Rex caelestium terrestrium, provides elements for a reconstruction of a further, ‘hidden’, organum. These newly identified organa shed light on a significant phase in Western music history, being the sole evidence from the tenth century of a polyphonic practice before the great eleventh-century collection of organa from Winchester.
{"title":"TWO NEWLY DISCOVERED TENTH-CENTURY ORGANA","authors":"G. Varelli","doi":"10.1017/S0261127913000053","DOIUrl":"https://doi.org/10.1017/S0261127913000053","url":null,"abstract":"In the tenth century, when the earliest chant books were being compiled in the heart of the Carolingian Empire and polyphonic music was entering the realm of theoretical speculation in the anonymous writings of Musica enchiriadis and Scolica enchiriadis, organa were also being notated for performance outside music treatises. We would not know this, were it not for a two-voice organum on an antiphon for Saint Boniface written in the first decades of the tenth century on the last page of a long-neglected manuscript, now in the British Library. A second notated antiphon, Rex caelestium terrestrium, provides elements for a reconstruction of a further, ‘hidden’, organum. These newly identified organa shed light on a significant phase in Western music history, being the sole evidence from the tenth century of a polyphonic practice before the great eleventh-century collection of organa from Winchester.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"74 1","pages":"277 - 315"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000053","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438274","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 : 2013-09-27DOI: 10.1017/S0261127913000089
Keith Polk
Several generations of musicologists have studied, often in detail, urban musical cultures through a vast swathe of Europe. For Italy, Germany, the Low Countries and England we have assembled masses of information. Still, for some areas interest has been less intense, with France being a leading example: despite a handful of local studies (most from the late nineteenth century), there had been no attempt to provide an overall view. Now we have the excellent study by Gretchen Peters which fills this long-standing gap in our knowledge. As Dr Peters points out, there are very good reasons why we have not had such a comprehensive survey before. France was a larger and more diverse region than others, comprising at least four different language groups. A dozen or more cities are of such size and importance that each could demand months, if not years, of sifting through the surviving documents to get an adequate sense of their cultures. In addition there are at least fifty more cities of substantial, if lesser, importance which demand attention. To even begin the task of gathering the essential information demands an almost heroic resolve. Paris presents a particular problem: almost all relevant documents were destroyed in the nineteenth century. The lack of information for what was by far the leading artistic centre of the country has dealt a crippling blow to our understanding. Despite all these obstacles, Peters has managed to construct a remarkably effective composite picture of music in urban France. After an introduction, the book is divided into two main sections. The first consists of three chapters; the first of these is devoted to civic patronage in southern France, the second to that of central France, the third to northern France. The second section also has three chapters, the first concerning the occasions which demanded music, the next on the professional
{"title":"Gretchen Peters, The Musical Sounds of Medieval French Cities: Players, Patrons, and Politics . Cambridge: Cambridge University Press, 2012. x+297 pp. ISBN 978-1-107-01061-1. doi:10.1017/S0261127913000089","authors":"Keith Polk","doi":"10.1017/S0261127913000089","DOIUrl":"https://doi.org/10.1017/S0261127913000089","url":null,"abstract":"Several generations of musicologists have studied, often in detail, urban musical cultures through a vast swathe of Europe. For Italy, Germany, the Low Countries and England we have assembled masses of information. Still, for some areas interest has been less intense, with France being a leading example: despite a handful of local studies (most from the late nineteenth century), there had been no attempt to provide an overall view. Now we have the excellent study by Gretchen Peters which fills this long-standing gap in our knowledge. As Dr Peters points out, there are very good reasons why we have not had such a comprehensive survey before. France was a larger and more diverse region than others, comprising at least four different language groups. A dozen or more cities are of such size and importance that each could demand months, if not years, of sifting through the surviving documents to get an adequate sense of their cultures. In addition there are at least fifty more cities of substantial, if lesser, importance which demand attention. To even begin the task of gathering the essential information demands an almost heroic resolve. Paris presents a particular problem: almost all relevant documents were destroyed in the nineteenth century. The lack of information for what was by far the leading artistic centre of the country has dealt a crippling blow to our understanding. Despite all these obstacles, Peters has managed to construct a remarkably effective composite picture of music in urban France. After an introduction, the book is divided into two main sections. The first consists of three chapters; the first of these is devoted to civic patronage in southern France, the second to that of central France, the third to northern France. The second section also has three chapters, the first concerning the occasions which demanded music, the next on the professional","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"317 - 323"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000089","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438411","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 : 2013-09-27DOI: 10.1017/S0261127913000028
Karen Desmond
In balades 27 and 38, Machaut likens the wounds suffered by the lover to those that result from the poisons of deadly beasts. He invokes animal imagery to depict the beloved and her behaviour: she encloses within her being monstrous beasts that repel and repulse the lover, causing him grievous bodily harm. In the course of both balades the deadly beasts transform into various allegorical characters that are personifications of secular vices. One of these characters, Refusal (‘Refus’), emerges as central. Machaut personifies the lady's rejection of the lover's advances (which he makes through words/music) as the courtly vice Refusal. In Balade 27, it is her sense organs that enact this refusal: her ears cannot hear him, her mouth rejects him, and her Look kills him. I explore the resonances of Machaut's sadistic and animalistic lady in two spheres: the courtly, where the obvious antecedents for Machaut's imagery are the courtly bestiaries; and the sacred, where parallels between Refusal and the deadly sins of pride and envy can be detected, as suggested by my interpretation of these two balades and some of Machaut's motets, and the links I set forth between these sins, vices, and the senses that partake in them. Patri carissimo eidemque ingeniossimo, John Patrick Desmond (1943–2013)
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Pub Date : 2013-09-27DOI: 10.1017/S0261127913000077
Gaël Saint-Cricq
This article investigates a corpus of sixteen thirteenth-century motets whose formal structures are rigorously modelled on the AAB formal type of the trouvère chanson. This corpus bears witness that the first specimens of hybridization between polyphony and the high-style lyric chanson arose as early as the 1240s, well before the emergence of fourteenth-century polyphonic song. The analysis of the make-up of the AAB form of the motets first reveals that its elements completely match those of the pedes-cum-cauda formal type of trouvère chansons. The formal impact of song citations within the corpus is then explored, together with the different modalities according to which they are involved in the make-up of the AAB form. Finally, the analysis of the texture of the works brings to light the singularity of their fabric: remodelled by the structures of the trouvère chanson, it breaks with the traditional format of the motet and turns into the texture of a motet-chanson.
{"title":"A NEW LINK BETWEEN THE MOTET AND TROUVÈRE CHANSON: THE PEDES-CUM-CAUDA MOTET","authors":"Gaël Saint-Cricq","doi":"10.1017/S0261127913000077","DOIUrl":"https://doi.org/10.1017/S0261127913000077","url":null,"abstract":"This article investigates a corpus of sixteen thirteenth-century motets whose formal structures are rigorously modelled on the AAB formal type of the trouvère chanson. This corpus bears witness that the first specimens of hybridization between polyphony and the high-style lyric chanson arose as early as the 1240s, well before the emergence of fourteenth-century polyphonic song. The analysis of the make-up of the AAB form of the motets first reveals that its elements completely match those of the pedes-cum-cauda formal type of trouvère chansons. The formal impact of song citations within the corpus is then explored, together with the different modalities according to which they are involved in the make-up of the AAB form. Finally, the analysis of the texture of the works brings to light the singularity of their fabric: remodelled by the structures of the trouvère chanson, it breaks with the traditional format of the motet and turns into the texture of a motet-chanson.","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"179 - 223"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000077","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438349","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 : 2013-09-27DOI: 10.1017/S026112791300003X
Andrea Lindmayr-Brandl
The early German lied setting is the musical genre that is considered to be the first polyphonic art form in German music. The genre was revived in the nineteenth century in the context of early nationalism, linked with the idea of ‘Volkslied’. This article traces the evolution of the ‘Tenorlied theory’ in early musicology, featuring prominent figures such as Arnold Schering, Hans Joachim Moser and Heinrich Besseler, and connects it with a specific performance practice that developed simultaneously with the emergence of various amateur musical circles: the Jugendmusikbewegung, the male choir movement, the Hausmusik movement and the Collegium musicum. A fatal period in the history of the early German lied setting led to the politicisation of its repertory in the Third Reich. Ludwig Senfl, a German hero of early times, provides a case study in point. The years after the Second World War were characterised by efforts to standardise the performance practice of the lied as well as the usage of the term ‘Tenorlied’, while still insisting on the German identity of the genre.
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Pub Date : 2013-09-27DOI: 10.1017/S0261127913000090
{"title":"EMH volume 32 Cover and Front matter","authors":"","doi":"10.1017/S0261127913000090","DOIUrl":"https://doi.org/10.1017/S0261127913000090","url":null,"abstract":"","PeriodicalId":42589,"journal":{"name":"EARLY MUSIC HISTORY","volume":"32 1","pages":"f1 - f8"},"PeriodicalIF":0.3,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0261127913000090","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57438638","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 : 2012-08-08DOI: 10.1017/S0261127912000071
Fabio Carboni, A. Ziino
St Isidore's College in Rome, belonging to the Irish Franciscan Province, preserves a manuscript from the end of the fifteenth century, MS I/88, which in addition to various Latin theological and liturgical texts contains many Italian laude and Latin hymns, nine of which have music. The two laude are Vergene madre pia and O Jesù dolce, o infinit'amore, for two voices; of the seven Latin hymns, three are for three voices, two for two, and one is monodic. All these pieces are also found in other sources except for the two-voice hymn Hic est Christus, which appears to be an unicum. This new source, in conjunction with those already known, not only permits us to understand the history of the manuscript tradition of these texts and their music, but also is very interesting in that it provides a new witness for the diffusion of the lauda in Franciscan circles and the particular ways in which it was transmitted – not in official liturgical books but within miscellaneous volumes of texts and prayers of various kinds, uses, and provenance. Finally, from a musical point of view the Franciscan manuscript confirms the use of so-called ‘simple polyphony’ throughout the fifteenth century side by side with more complex polyphony in the Franco-Flemish tradition.
罗马的圣伊西多尔学院，属于爱尔兰方济会省，保存了一份15世纪末的手稿，MS I/88，除了各种拉丁神学和礼仪文本外，还包含许多意大利颂诗和拉丁赞美诗，其中九首有音乐。这两个名字是Vergene madre pia和O Jesù dolce, O infinit'amore，两个声音;在七首拉丁赞美诗中，三首是三个声部的，两首是两个声部的，还有一首是单声部的。所有这些作品也可以在其他来源找到，除了双声部赞美诗《希斯是基督》，这似乎是一首独奏曲。这个新的来源，结合那些已知的，不仅使我们能够理解这些文本的手稿传统和他们的音乐的历史，而且非常有趣的是，它为lauda在方济各会的圈子里的传播提供了一个新的见证，以及它传播的特殊方式——不是在官方的礼仪书中，而是在各种各样的文本和祈祷中，各种用途，和来源。最后，从音乐的角度来看，方济各会手稿证实了所谓的“简单复调”在整个15世纪的使用，并与佛朗哥-佛兰德传统中更复杂的复调并存。
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