{"title":"Music for St Cecilia’s Day from Purcell to Handel","authors":"Herissone R.","doi":"10.1093/em/caab058","DOIUrl":"https://doi.org/10.1093/em/caab058","url":null,"abstract":"<span>WhiteBryan, <span style=\"font-style:italic;\">Music for St Cecilia’s Day from Purcell to Handel</span>, Music in Britain, 1600–2000 (Woodbridge: Boydell, 2019), £45</span>","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"8 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sounds powerful","authors":"Inniger J, Vallat L.","doi":"10.1093/em/caab061","DOIUrl":"https://doi.org/10.1093/em/caab061","url":null,"abstract":"<span>‘Between court and city: soundscapes of power in East and West (15th–17th centuries)’, Institute of Musicology, University of Bern, 5 February 2021</span>","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"59 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eight melodies, one for each of the ecclesiastical modes, are given as optional additions to responsories and other chants in the 14th-century Speculum musicae of Jacobus of Liège. The melodies have paired phrases resembling those of contemporaneous dance music. The paucity of surviving melodies of this sort, and their almost exclusive association with secular music, make this series particularly fascinating.
在14世纪的利弗莱的雅各布斯(Jacobus of li)的《Speculum musicae》中，八种旋律，每种为一种教会调式，被作为可选的附加到责任和其他圣歌中。旋律中有与同时代舞蹈音乐相似的成对乐句。这种幸存的旋律的缺乏，以及它们几乎与世俗音乐的独家联系，使这个系列特别迷人。
{"title":"Melismas in the Speculum musicae","authors":"Thomas Forrest Kelly","doi":"10.1093/em/caab071","DOIUrl":"https://doi.org/10.1093/em/caab071","url":null,"abstract":"Eight melodies, one for each of the ecclesiastical modes, are given as optional additions to responsories and other chants in the 14th-century Speculum musicae of Jacobus of Liège. The melodies have paired phrases resembling those of contemporaneous dance music. The paucity of surviving melodies of this sort, and their almost exclusive association with secular music, make this series particularly fascinating.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"74 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘For the Lovers and Practitioners of [English] Consort [and Court]-Musick’","authors":"A. King","doi":"10.1093/em/caab053","DOIUrl":"https://doi.org/10.1093/em/caab053","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48138006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Choral music and those who make and listen to it have had, to say the least, a rough ride over the past year and a half. Successive lockdowns have deprived audiences and congregations of the unique and uplifting experience of hearing live voices in consort, amateur choirs and choral societies have been unable to provide their usual opportunities for fellowship and recreation, while professional singers and their families have lost their incomes. Children have suffered particularly; for a cathedral chorister to have unceremoniously missed out on what might have been their final year of service is a great pity. More than that, a pernicious mistrust in the very act of singing has taken hold, originating largely in misconceptions engendered by media reports during the first wave of COVID-19 infections in early 2020.11
{"title":"Against the odds: pandemic early choral music","authors":"Goursaud C.","doi":"10.1093/em/caab055","DOIUrl":"https://doi.org/10.1093/em/caab055","url":null,"abstract":"<span>Choral music and those who make and listen to it have had, to say the least, a rough ride over the past year and a half. Successive lockdowns have deprived audiences and congregations of the unique and uplifting experience of hearing live voices in consort, amateur choirs and choral societies have been unable to provide their usual opportunities for fellowship and recreation, while professional singers and their families have lost their incomes. Children have suffered particularly; for a cathedral chorister to have unceremoniously missed out on what might have been their final year of service is a great pity. More than that, a pernicious mistrust in the very act of singing has taken hold, originating largely in misconceptions engendered by media reports during the first wave of COVID-19 infections in early 2020.1<sup>1</sup></span>","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"42 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The life of a performing musician in the UK over the last 18 months has been something of a rollercoaster. Since the abrupt shutdown of March 2020, there have been various, often confusing stages of tentative reopening, some sense of a brave new world, alongside frustrations, instability, and a heightened awareness of the fragility of even the best-laid plans. It is natural, then, first to mention the extraordinary skill, resourcefulness and resilience of those who work in the organization and promotion of early music. They have added a long list of unexpectedly crucial skills to their toolkits, and have kept the music playing while conducting risk assessments and wielding their two-metre rulers and (against the odds) broad smiles. It is hard not to resort to cliché here, but it is simply inconceivable, now, to make music without the help of these unsung heroes and heroines. For that, all performers are hugely indebted.
{"title":"On screen and stage: a performer’s perspective on life in early music, 2020–21","authors":"Mulroy N.","doi":"10.1093/em/caab056","DOIUrl":"https://doi.org/10.1093/em/caab056","url":null,"abstract":"<span>The life of a performing musician in the UK over the last 18 months has been something of a rollercoaster. Since the abrupt shutdown of March 2020, there have been various, often confusing stages of tentative reopening, some sense of a brave new world, alongside frustrations, instability, and a heightened awareness of the fragility of even the best-laid plans. It is natural, then, first to mention the extraordinary skill, resourcefulness and resilience of those who work in the organization and promotion of early music. They have added a long list of unexpectedly crucial skills to their toolkits, and have kept the music playing while conducting risk assessments and wielding their two-metre rulers and (against the odds) broad smiles. It is hard not to resort to cliché here, but it is simply inconceivable, now, to make music without the help of these unsung heroes and heroines. For that, all performers are hugely indebted.</span>","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"9 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Opinions remain divided on the date of Illibata Dei virgo nutrix, the motet with the famous acrostic spelling the name Josquin des Prez. Some writers see it as a product of the composer’s years at the papal chapel, 1489–94; others would move its origin considerably earlier, even to 1466–75. The only real foothold we have comes from a Vatican copy made in the mid-1490s. Advocates for an early date see the music as particularly close to the works of Du Fay, Busnoys and Johannes Regis; those supporting a Roman origin point to a trend there during Josquin’s tenure towards similarly ‘archaic’ motets. In both instances, the writers have sought a context in the music of other composers. The present study turns the focus inward to seek a context within the development of Josquin himself. Despite the uncertainty that scholars find in Josquin chronology at every turn, careful analysis of compositional procedure offers a way of breaking the apparent logjam over what everyone recognizes as one of the most significant works of its era.
关于圣歌《处女座圣歌》(Illibata Dei virgo nutrix)的诞生日期，人们的意见仍然存在分歧，这首圣歌的名字是著名的跨写拼写Josquin des Prez。一些作家认为这是作曲家1489年至1494年在教皇教堂生活的产物;其他人则认为它的起源要早得多，甚至可以追溯到1466 - 1475年。我们唯一真正的立足点来自于1490年代中期的梵蒂冈副本。主张尽早演出的人认为，这些音乐特别接近杜费、布斯诺伊斯和约翰内斯·雷吉斯的作品;那些支持罗马起源的人指出，在Josquin任职期间，有一种倾向于类似的“古老”口号。在这两种情况下，作者都在其他作曲家的音乐中寻找背景。本研究将焦点转向内部，寻求乔斯金自身发展的语境。尽管学者们在约斯金的年表中发现了每一个转折点的不确定性，但对构图过程的仔细分析提供了一种打破明显僵局的方法，这种僵局被每个人都认为是那个时代最重要的作品之一。
{"title":"Inside—and outside—Illibata: composition, context and chronology in a famous Josquin motet","authors":"Joshua Rifkin","doi":"10.1093/em/caab064","DOIUrl":"https://doi.org/10.1093/em/caab064","url":null,"abstract":"Opinions remain divided on the date of Illibata Dei virgo nutrix, the motet with the famous acrostic spelling the name Josquin des Prez. Some writers see it as a product of the composer’s years at the papal chapel, 1489–94; others would move its origin considerably earlier, even to 1466–75. The only real foothold we have comes from a Vatican copy made in the mid-1490s. Advocates for an early date see the music as particularly close to the works of Du Fay, Busnoys and Johannes Regis; those supporting a Roman origin point to a trend there during Josquin’s tenure towards similarly ‘archaic’ motets. In both instances, the writers have sought a context in the music of other composers. The present study turns the focus inward to seek a context within the development of Josquin himself. Despite the uncertainty that scholars find in Josquin chronology at every turn, careful analysis of compositional procedure offers a way of breaking the apparent logjam over what everyone recognizes as one of the most significant works of its era.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"191 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Motet cycles between devotion and liturgy","authors":"Jane Hatter","doi":"10.1093/em/caab057","DOIUrl":"https://doi.org/10.1093/em/caab057","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42922442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the shadow of the iconic Tower Bridge in London, the Bridge Theatre (one of the capital’s newest) re-opened its doors in summer 2021 with the premiere of Nina Raine’s play, Bach & Sons. The tension between old and new manifested in the contrast of the gleaming, glass-fronted theatre building and the fraying domesticity of the Bach family home portrayed on stage initiated a dialogue of contrasts and unlikely congruities that continued throughout the production. In scenes strangely familiar from recent experiences of families in lockdown, Johann Sebastian Bach (played by the musically as well as dramatically talented Simon Russell Beale) is shown struggling to keep up with his work deadlines, while his older sons Wilhelm Friedemann and Carl Philipp Emanuel squabble for his attention to their composition lessons. In the background, the sounds of Maria Barbara attempting to soothe a crying infant add to the aural chaos.
{"title":"Against the odds: pandemic early choral music","authors":"","doi":"10.1093/em/caab059","DOIUrl":"https://doi.org/10.1093/em/caab059","url":null,"abstract":"<span>In the shadow of the iconic Tower Bridge in London, the Bridge Theatre (one of the capital’s newest) re-opened its doors in summer 2021 with the premiere of Nina Raine’s play, <span style=\"font-style:italic;\">Bach & Sons</span>. The tension between old and new manifested in the contrast of the gleaming, glass-fronted theatre building and the fraying domesticity of the Bach family home portrayed on stage initiated a dialogue of contrasts and unlikely congruities that continued throughout the production. In scenes strangely familiar from recent experiences of families in lockdown, Johann Sebastian Bach (played by the musically as well as dramatically talented Simon Russell Beale) is shown struggling to keep up with his work deadlines, while his older sons Wilhelm Friedemann and Carl Philipp Emanuel squabble for his attention to their composition lessons. In the background, the sounds of Maria Barbara attempting to soothe a crying infant add to the aural chaos.</span>","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"44 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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