A response to Joshua Rifkin’s reconsideration of the early history of Verona, Biblioteca Capitolare, Ms. dcclxi. As well as addressing Rifkin’s objections to my hypotheses, I discuss the motivation behind my scholarship, and some of the choices I make in presenting it.
{"title":"A response to Joshua Rifkin (‘Singing nuns? More on the story of Verona 761’)","authors":"Laurie Stras","doi":"10.1093/em/caad034","DOIUrl":"https://doi.org/10.1093/em/caad034","url":null,"abstract":"A response to Joshua Rifkin’s reconsideration of the early history of Verona, Biblioteca Capitolare, Ms. dcclxi. As well as addressing Rifkin’s objections to my hypotheses, I discuss the motivation behind my scholarship, and some of the choices I make in presenting it.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"59 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540665","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}
This article is based on a talk I was asked to give during the conference Leonardo, la musica, la scena (Leonardo: the music and the scene) held at the Accademia di Brera, Milan, in November 2019. On that occasion I was able to illustrate my wooden reconstruction of Leonardo’s portative organ, as illustrated on fol.76r of the codex Madrid II. In the article I present and analyse Leonardo’s drawings of this organ in their original context, as well as exploring the distinctive traits of the instrument. With the aim of making possible a historically informed reconstruction, I identify an appropriate interpretative methodology and principles of construction consistent with the historical period in which Leonardo worked, both as musicus and maker of instruments. At the same time I trace an analogy with the portative organ of the late Middle Ages. For this instrument, which works in a very similar way to the late medieval portative organ, some traits have been derived from the portative organ, in particular the scaling of the pipes. Finally, individual parts of Leonardo’s organ design are interpreted and their modern reconstruction illustrated, leading to the presentation of the complete instrument.
本文基于2019年11月在米兰布雷拉学院举行的Leonardo, la musica, la scena (Leonardo:音乐和场景)会议上我被要求发表的演讲。在那个场合，我能够说明我的木制重建达·芬奇的生殖器官，如图所示。《马德里法典II》第76页。在本文中，我呈现并分析了列奥纳多在其原始背景下对这个风琴的绘画，并探索了这个乐器的独特特征。为了使历史上的重建成为可能，我确定了一种适当的解释方法和结构原则，与列奥纳多作为音乐家和乐器制造者工作的历史时期一致。同时，我还找到了一个与中世纪晚期的输送器官相似的地方。对于这种乐器来说，它的工作方式与中世纪晚期的传送风琴非常相似，一些特征来自于传送风琴，特别是管道的缩放。最后，对列奥纳多风琴设计的各个部分进行了解释，并对其进行了现代重建，从而展示了完整的乐器。
{"title":"An ingenious musical machine from the imagination of Leonardo da Vinci","authors":"Walter Chinaglia","doi":"10.1093/em/caad038","DOIUrl":"https://doi.org/10.1093/em/caad038","url":null,"abstract":"This article is based on a talk I was asked to give during the conference Leonardo, la musica, la scena (Leonardo: the music and the scene) held at the Accademia di Brera, Milan, in November 2019. On that occasion I was able to illustrate my wooden reconstruction of Leonardo’s portative organ, as illustrated on fol.76r of the codex Madrid II. In the article I present and analyse Leonardo’s drawings of this organ in their original context, as well as exploring the distinctive traits of the instrument. With the aim of making possible a historically informed reconstruction, I identify an appropriate interpretative methodology and principles of construction consistent with the historical period in which Leonardo worked, both as musicus and maker of instruments. At the same time I trace an analogy with the portative organ of the late Middle Ages. For this instrument, which works in a very similar way to the late medieval portative organ, some traits have been derived from the portative organ, in particular the scaling of the pipes. Finally, individual parts of Leonardo’s organ design are interpreted and their modern reconstruction illustrated, leading to the presentation of the complete instrument.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"17 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540693","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":"Ubiquitous music in Newcastle","authors":"Amanda Eubanks Winkler","doi":"10.1093/em/caad044","DOIUrl":"https://doi.org/10.1093/em/caad044","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"43 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139269175","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}
Abstract Studies of the literary dimensions of English Renaissance madrigals frequently cordon off these works from non-musical forms, such as the prosodic experiments being carried out by humanist poets or the humanist practices of literary translation and imitation. Conversely, studies of humanist translation in England almost never consider recreational song, instead focusing exclusively on more ‘serious’ genres. However, several collections of recreational song published in the period present these songs as legitimate humanist works. In some cases, these collections offer the first English translations of classical and Renaissance poems. Nicholas Yonge’s Musica transalpina (1588) and Thomas Watson’s Italian madrigalls Englished (1590), for example, call attention to their translations of eminent Italian poets (Petrarch, Ariosto, Tasso) and address themselves to classically learned readers. The humanist character of such anthologies was well enough known to be satirized by Thomas Weelkes in his Ayeres and phantasticke spirites (1608), whose classical references have seldom been seriously considered. At the heart of these exchanges is an implicit debate over whether recreational song texts are an appropriate vehicle for humanist learning.
对文艺复兴时期英国牧歌文学维度的研究经常将这些作品与非音乐形式区分开来，例如人文主义诗人进行的韵律实验或文学翻译和模仿的人文主义实践。相反，英国的人文主义翻译研究几乎从不考虑休闲歌曲，而是专注于更“严肃”的类型。然而，这一时期出版的几部娱乐歌曲集将这些歌曲视为合法的人文主义作品。在某些情况下，这些合集提供了古典和文艺复兴时期诗歌的第一批英文译本。例如，尼古拉斯·杨格的《跨阿尔卑斯的音乐》(1588)和托马斯·沃森的《意大利牧歌英语》(1590)，让人们注意到他们对意大利著名诗人(彼特拉克、阿里奥斯托、塔索)的翻译，并将自己的目标读者定位于古典文学。这些选集的人文主义特征是众所周知的，托马斯·威尔克斯在他的《Ayeres and phantasticke spirites》(1608)中讽刺了这些选集，其经典引用很少被认真考虑。这些交流的核心是一个隐含的争论，即娱乐歌曲文本是否是人文主义学习的合适工具。
{"title":"<i>Nec doctum satis</i>: humanist translation and English recreational song","authors":"Joseph M Ortiz","doi":"10.1093/em/caad049","DOIUrl":"https://doi.org/10.1093/em/caad049","url":null,"abstract":"Abstract Studies of the literary dimensions of English Renaissance madrigals frequently cordon off these works from non-musical forms, such as the prosodic experiments being carried out by humanist poets or the humanist practices of literary translation and imitation. Conversely, studies of humanist translation in England almost never consider recreational song, instead focusing exclusively on more ‘serious’ genres. However, several collections of recreational song published in the period present these songs as legitimate humanist works. In some cases, these collections offer the first English translations of classical and Renaissance poems. Nicholas Yonge’s Musica transalpina (1588) and Thomas Watson’s Italian madrigalls Englished (1590), for example, call attention to their translations of eminent Italian poets (Petrarch, Ariosto, Tasso) and address themselves to classically learned readers. The humanist character of such anthologies was well enough known to be satirized by Thomas Weelkes in his Ayeres and phantasticke spirites (1608), whose classical references have seldom been seriously considered. At the heart of these exchanges is an implicit debate over whether recreational song texts are an appropriate vehicle for humanist learning.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" 571","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135185975","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}
Journal Article Miscellany on the London stage Get access Alison C. DeSimone, The power of pastiche: musical miscellany and cultural identity in early eighteenth-century England. Studies in British Musical Cultures (Clemson, SC: Clemson University Press, 2021), $143 Thomas McGeary Thomas McGeary thomas_mcgeary@hotmail.com https://orcid.org/0000-0001-8337-7361 Search for other works by this author on: Oxford Academic Google Scholar Early Music, caad041, https://doi.org/10.1093/em/caad041 Published: 03 November 2023
杂志文章杂记在伦敦舞台获得访问艾莉森C.德西蒙，模仿的力量:音乐杂记和文化认同在十八世纪早期的英国。《英国音乐文化研究》(克莱姆森，南卡罗来纳州:克莱姆森大学出版社，2021年)，143美元Thomas McGeary Thomas McGeary thomas_mcgeary@hotmail.com https://orcid.org/0000-0001-8337-7361搜索作者的其他作品:牛津学术谷歌学者早期音乐，caad041, https://doi.org/10.1093/em/caad041出版日期:2023年11月3日
{"title":"Miscellany on the London stage","authors":"Thomas McGeary","doi":"10.1093/em/caad041","DOIUrl":"https://doi.org/10.1093/em/caad041","url":null,"abstract":"Journal Article Miscellany on the London stage Get access Alison C. DeSimone, The power of pastiche: musical miscellany and cultural identity in early eighteenth-century England. Studies in British Musical Cultures (Clemson, SC: Clemson University Press, 2021), $143 Thomas McGeary Thomas McGeary thomas_mcgeary@hotmail.com https://orcid.org/0000-0001-8337-7361 Search for other works by this author on: Oxford Academic Google Scholar Early Music, caad041, https://doi.org/10.1093/em/caad041 Published: 03 November 2023","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"25 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135874681","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}
Abstract Considers recent arguments about the choirbook Verona, Biblioteca Capitolare, Ms. dccxli, and a convent in the city where it resides.
考虑到最近关于唱诗班书《维罗纳》、国会图书馆、dccxli女士和它所在城市的一座修道院的争论。
{"title":"Singing nuns? More on the story of Verona 761","authors":"Joshua Rifkin","doi":"10.1093/em/caad032","DOIUrl":"https://doi.org/10.1093/em/caad032","url":null,"abstract":"Abstract Considers recent arguments about the choirbook Verona, Biblioteca Capitolare, Ms. dccxli, and a convent in the city where it resides.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135977255","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":"<i>Poca robba, ma buona</i>: the recorded legacy of ornamentation practice in 16th- and 17th-century music","authors":"Jamie Savan","doi":"10.1093/em/caad043","DOIUrl":"https://doi.org/10.1093/em/caad043","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136106008","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}
Abstract Steffani made an important contribution to the cultivation of Italian opera in north Germany. Amor vien dal Destino must have been composed at Hanover in the 1690s but was not performed until 1709, at Düsseldorf. Several questions arise. Was it meant for 1694, the only year during his period at Hanover when there was no opera at the court? If so, why was it not performed? Why was it not performed before 1709? Why was it then staged at Düsseldorf? Why and how was the opera revised for that production? Who were the singers involved? Answers emerge from consideration of the Düsseldorf wordbook (especially its preface), of the autograph score and a hitherto neglected manuscript copy in Hanover, and of the circumstances of the two courts concerned. If these answers are correct, they demonstrate a close relationship between the opera and its social and political context.
{"title":"Steffani’s <i>Amor vien dal Destino</i>: new answers to old questions","authors":"Colin Timms","doi":"10.1093/em/caad039","DOIUrl":"https://doi.org/10.1093/em/caad039","url":null,"abstract":"Abstract Steffani made an important contribution to the cultivation of Italian opera in north Germany. Amor vien dal Destino must have been composed at Hanover in the 1690s but was not performed until 1709, at Düsseldorf. Several questions arise. Was it meant for 1694, the only year during his period at Hanover when there was no opera at the court? If so, why was it not performed? Why was it not performed before 1709? Why was it then staged at Düsseldorf? Why and how was the opera revised for that production? Who were the singers involved? Answers emerge from consideration of the Düsseldorf wordbook (especially its preface), of the autograph score and a hitherto neglected manuscript copy in Hanover, and of the circumstances of the two courts concerned. If these answers are correct, they demonstrate a close relationship between the opera and its social and political context.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218556","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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