{"title":"Baroque operas from madness to enlightenment","authors":"David Vickers","doi":"10.1093/em/caad046","DOIUrl":"https://doi.org/10.1093/em/caad046","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139610171","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":"Female-voice song before 1500","authors":"Elizabeth Eva Leach","doi":"10.1093/em/caad057","DOIUrl":"https://doi.org/10.1093/em/caad057","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139385772","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 wreck of the frigate Gloucester off Norfolk on 6 May 1682 has always figured in histories of the Restoration period; it was taking James, Duke of York (the future James II and VII) to Edinburgh to collect his wife Mary of Modena and his daughter Princess Anne after his years of exile in Scotland. It has long been known that there were royal musicians on board, two of whom were drowned, though interest in the subject has been rekindled by the discovery of the wreck and an exhibition of artefacts from it in Norwich in 2023. Some other historic wrecks have proved to contain musical instruments, including the Mary Rose and several Dutch ships, though the Gloucester is unique in that a musical artefact—a brass trumpet mouthpiece—can be matched to documentary evidence concerning the musicians on board. Court documents concerned with replacing lost instruments and compensating survivors and the families of victims show that those on board included four royal trumpeters and a kettledrummer (Walter Vanbright, who was drowned); a five-man group drawn from the Twenty-Four Violins, led by the composer Thomas Farmer and including Thomas Greeting (who was also drowned); and the oboist, recorder player and bass violinist James Paisible, who had apparently been working in Edinburgh in the Duke of York’s household. Paisible may have been a member of Farmer’s string group, though there is a possibility that he was accompanied by three other French musicians, forming a separate recorder/oboe consort. An anecdote concerning James rescuing the string player Edmund Flower from drowning throws light on the musical and religious politics on board the Gloucester: the earliest version, published in 1730, claimed wrongly that the duke ‘turn’d him out of his band because he would not turn Papist’.
{"title":"The wreck of the Gloucester revisited","authors":"Peter Holman","doi":"10.1093/em/caad060","DOIUrl":"https://doi.org/10.1093/em/caad060","url":null,"abstract":"The wreck of the frigate Gloucester off Norfolk on 6 May 1682 has always figured in histories of the Restoration period; it was taking James, Duke of York (the future James II and VII) to Edinburgh to collect his wife Mary of Modena and his daughter Princess Anne after his years of exile in Scotland. It has long been known that there were royal musicians on board, two of whom were drowned, though interest in the subject has been rekindled by the discovery of the wreck and an exhibition of artefacts from it in Norwich in 2023. Some other historic wrecks have proved to contain musical instruments, including the Mary Rose and several Dutch ships, though the Gloucester is unique in that a musical artefact—a brass trumpet mouthpiece—can be matched to documentary evidence concerning the musicians on board. Court documents concerned with replacing lost instruments and compensating survivors and the families of victims show that those on board included four royal trumpeters and a kettledrummer (Walter Vanbright, who was drowned); a five-man group drawn from the Twenty-Four Violins, led by the composer Thomas Farmer and including Thomas Greeting (who was also drowned); and the oboist, recorder player and bass violinist James Paisible, who had apparently been working in Edinburgh in the Duke of York’s household. Paisible may have been a member of Farmer’s string group, though there is a possibility that he was accompanied by three other French musicians, forming a separate recorder/oboe consort. An anecdote concerning James rescuing the string player Edmund Flower from drowning throws light on the musical and religious politics on board the Gloucester: the earliest version, published in 1730, claimed wrongly that the duke ‘turn’d him out of his band because he would not turn Papist’.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138692219","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}
Sociable music-making from notation had become a marker of status by the time of Byrd’s and Weelkes’s printed anthologies of part-songs. However, there was ambivalence about its suitability for gentlemen in a time when ideas of manhood were undergoing redefinition and when both gender and class were reinforced through display. Men of wealth and leisure were encouraged to balance musical recreation with more physically or intellectually demanding pursuits, not let it distract from necessary obligations nor be used for excessive devotion to women. Performing music among same-sex social equals in the context of other pastimes satisfied these conditions and reinforced friendship, collaboration, healthy competition and gamesmanship. Part-songs suggesting such strenuous cooperative ventures as warfare and hunting especially bridged the gentlemen’s domains of action and intellect. Single-sex performance also provided an opportunity to contest yet reinforce masculine ideals and to play a range of gender roles among social intimates, especially through compositions which encoded notions of manliness and effeminacy or which bridged the sensory domains of sight and sound.
{"title":"‘Well sorted and ordered’: sociable music-making and gentlemen’s recreation in the era of Byrd and Weelkes","authors":"Linda Phyllis Austern","doi":"10.1093/em/caad061","DOIUrl":"https://doi.org/10.1093/em/caad061","url":null,"abstract":"Sociable music-making from notation had become a marker of status by the time of Byrd’s and Weelkes’s printed anthologies of part-songs. However, there was ambivalence about its suitability for gentlemen in a time when ideas of manhood were undergoing redefinition and when both gender and class were reinforced through display. Men of wealth and leisure were encouraged to balance musical recreation with more physically or intellectually demanding pursuits, not let it distract from necessary obligations nor be used for excessive devotion to women. Performing music among same-sex social equals in the context of other pastimes satisfied these conditions and reinforced friendship, collaboration, healthy competition and gamesmanship. Part-songs suggesting such strenuous cooperative ventures as warfare and hunting especially bridged the gentlemen’s domains of action and intellect. Single-sex performance also provided an opportunity to contest yet reinforce masculine ideals and to play a range of gender roles among social intimates, especially through compositions which encoded notions of manliness and effeminacy or which bridged the sensory domains of sight and sound.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138561504","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":"Medieval and Renaissance Music Conference in Munich","authors":"Johanna-Pauline Thöne, James R Tomlinson","doi":"10.1093/em/caad058","DOIUrl":"https://doi.org/10.1093/em/caad058","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138585550","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 known musical career of John Sheppard spans just 15 years. In 1543, when he was probably still in his late twenties, he was appointed informator choristarum of Magdalen College, Oxford. At his death in 1558, at about the age of 43, he was a Gentleman of the Chapel Royal, perhaps having been appointed on leaving Oxford in 1548. A recent article draws attention to the fact that, early in the reign of Queen Mary, Sheppard and his family were involved in a legal action concerning a group of properties in the parish of St Clement Danes, Middlesex. Deeper investigation of this dispute reveals where Sheppard’s geographical ties lay shortly before his Oxford appointment. It allows us to pinpoint with a high degree of confidence when and where his first marriage took place and to understand a little of the young couple’s circumstances. A separate action, in which he appeared as a joint plaintiff with his Chapel Royal colleague Luke Caustell, is less revealing, but potentially points to a connection with the same geographical region of England.
{"title":"John Sheppard and the Ewens: a closer look","authors":"Jason Smart","doi":"10.1093/em/caad030","DOIUrl":"https://doi.org/10.1093/em/caad030","url":null,"abstract":"The known musical career of John Sheppard spans just 15 years. In 1543, when he was probably still in his late twenties, he was appointed informator choristarum of Magdalen College, Oxford. At his death in 1558, at about the age of 43, he was a Gentleman of the Chapel Royal, perhaps having been appointed on leaving Oxford in 1548. A recent article draws attention to the fact that, early in the reign of Queen Mary, Sheppard and his family were involved in a legal action concerning a group of properties in the parish of St Clement Danes, Middlesex. Deeper investigation of this dispute reveals where Sheppard’s geographical ties lay shortly before his Oxford appointment. It allows us to pinpoint with a high degree of confidence when and where his first marriage took place and to understand a little of the young couple’s circumstances. A separate action, in which he appeared as a joint plaintiff with his Chapel Royal colleague Luke Caustell, is less revealing, but potentially points to a connection with the same geographical region of England.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540679","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}
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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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