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Early Music History: Volume 12
Includes contributions on European knowledge of Arabic texts referring to music and the motets of Philippe de Vitry and the fourteenth-century renaissance
A Companion to Music in Sixteenth-Century Venice
This book offers an overview of all facets of musical life in sixteenth-century Venice. It addresses the city’s institutions (churches, confraternities, and academies) against the background of public and private occasions of music making. Supported by a generous collection of archival, literary, and iconographical sources, it treats both ceremonial life in the Serenissima and private forms of patronage. The Companion also addresses the dense web of musical activity (from chapel masters and singers to instrumentalists and instrument makers to music printers and theorists) and the rich variety of styles and musical genres (the frottola, the madrigal, motets and masses, instrumental music, polychoral music, Venetian-language polyphony), broadening the geographical perspective beyond the Veneto to Istria and Dalmatia. Contributors are Rodolfo Baroncini, Sherri Bishop, Bonnie J. Blackburn, David Bryant, Ivano Cavallini, Paolo Da Col, Daniel Donnelly, Rebecca Edwards, Iain Fenlon, Jonathan Glixon, Don Harrán (†), Jeffrey Kurtzman, Giulio M. Ongaro, Francesco Passadore, Elena Quaranta, Katelijne Schiltz, Eleanor Selfridge-Field, and Giovanni Zanovello.
Dante's Journey to Polyphony
In Dante's Journey to Polyphony, Francesco Ciabattoni's erudite analysis sheds light on Dante's use of music in the Divine Comedy. Following the work's musical evolution, Ciabattoni moves from the cacophony of Inferno through the monophony of Purgatory, to the polyphony of Paradise and argues that Dante's use of sacred songs constitutes a thoroughly planned system. Particular types of music accompany the pilgrim's itinerary and reflect medieval theories regarding sound and the sacred. Combining musicological and philological scholarship, this book analyzes Dante's use of music in conjunction with the form and content of his verse, resulting in a cross-discipline analysis also touching on Italian Studies, Medieval Studies, and Cultural History. After moving from infernal din to heavenly harmony, Ciabattoni's final section addresses the music of the spheres, a theory that enjoyed great diffusion among the early middle ages, inspiring poets and philosophers for centuries.
Studies in the Performance of Late Medieval Music
This volume presents a series of important essays on some of the problems involved in attempting to perform music of the late Middle Ages.
Music and the Making of Medieval Venice
Introducing a new geographical paradigm for the study of medieval music, this path-breaking book uncovers the role of music, liturgy, and ritual in building Venice's empire in the eastern Mediterranean, activating the city's material culture, and shaping its state-craft of the imagination.
Selected Writings of Girolamo Savonarola
Five hundred years after his death at the stake, Girolamo Savonarola remains one of the most fascinating figures of the Italian Renaissance. This wide-ranging collection, with an introduction by historian Alison Brown, includes translations of his sermons and treatises on pastoral ministry, prophecy, politics, and moral reform, as well as the correspondence with Alexander VI that led to Savonarola’s silencing and excommunication. Also included are first-hand accounts of religio-civic festivities instigated by Savonarola and of his last moments. This collection demonstrates the remarkable extent of Savonarola’s contributions to the religious, political, and aesthetic debates of the late fifteenth century.
St. Anne in Renaissance Music
Michael Alan Anderson explores the political implications of music devoted to St Anne in the fifteenth and early sixteenth centuries.
Music in Medieval and Early Modern Europe
This volume consists of original papers first read at King's College, Cambridge, in 1979 at an international conference on medieval and Renaissance music. The contributors are distinguished in a wide variety of musicological interests but all are concerned in one way or another with pursuing the most urgent and promising directions for research in early music history. The result, far from being merely a further collection of essays applying well-tried approaches to familiar material, constantly seeks to expand the scope of musicology itself, and many of the contributions arc inter-disciplinary in method. The four main topics of the conference were carefully chosen, with some editorial control exercised for each session. This is reflected in four sections of closely related papers in the book. Two of these are concerned with the patronage of music: by the Church in fifteenth-century England, Italy and France, and in a broader context in Italy from 1450 to 1550. A group of essays on sixteenth-century instrumental music separates these, and the book concludes with five papers on theories of filiation as applied to music sources from the tenth to the sixteenth century.
The Motet in the Late Middle Ages
A unique capacity of measured polyphony is to give precisely fixed places not only to musical notes, but also to individual words in relation to them and each other. The Motet in the Late Middle Ages offers innovative approaches to the equal partnership of music and texts in motets of the fourteenth century and beyond, showcasing the imaginative opportunities afforded by this literal kind of intertextuality, and yielding a very different narrative from the common complaint that different simultaneous texts make motets incomprehensible. As leading musicologist Margaret Bent asserts, they simply require a different approach to preparation and listening. In this book, Bent examines the words an...
Bonfire Songs
Fra Girolamo Savonarola had a profound effect on the political and moral life of Florence in the 1490s, and his legacy lived on during the century after his execution in 1498, not just in Florence but in Ferrara and beyond the Alps, as far as Paris, Munich, and London. This study reconstructscontexts and musical settings for the popular tradition of sacred laude that were sung during the Savonarolan carnivals in 1496, 1497, and 1498. It further examines a broad network of patronage for the courtly tradition of Latin motets that provided elaborate musical settings for Savonarola'smeditations on Psalms 30 and 50. The friar's success in Florence can be partially attributed to his adoption of sa...
