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The Science and Art of Renaissance Music
As a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century's views of early music. In this collection, the same subject is seen from several angles, and thus gives a rich context for further explo...
European Music, 1520-1640
The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schütz among others. The thirty chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed ...
The Italian Madrigal in the Early Sixteenth Century
This 1988 book examines the genesis and dissemination of the Italian madrigal in its formative stages. Iain Fenlon and James Haar have analysed this vast repertoire as it is found in manuscript and print offer information concerning the date and provenance of many fundamental sources together with a view of the subject which differs radically from previous treatments. Their study is divided into two parts. The first covers the rise and early cultivation of the madrigal, chiefly in Florence and Rome. The second contains a detailed descriptive inventory of all known manuscripts and printed editions, finishing with lists of contents and concordances in each case. This important study will serve those with an interest in Renaissance music and the changing cultural ambience of early sixteenth-century Florence and Rome.
The Courtesan's Arts
Courtesans, hetaeras, tawaif-s, ji-s--these women have exchanged artistic graces, elevated conversation, and sexual favors with male patrons throughout history and around the world. In Ming dynasty China and early modern Italy, exchange was made through poetry, speech, and music; in pre-colonial India through magic, music, chemistry, and other arts. Yet like the art of courtesanry itself, those arts have often thrived outside present-day canons and modes of transmission, and have mostly vanished without trace.The Courtesan's Arts delves into this hidden legacy, while touching on its equivocal relationship to geisha. At once interdisciplinary, empirical, and theoretical, the book is the first...
Essays on Italian Poetry and Music in the Renaissance, 1350-1600
These essays illuminate the changing nature of text-music relationships from the time of Petrarch to Guarini and, in music, from the madrigals of Giovanni da Cascia to those of Gesualdo da Venosa. Haar traces a line of development from the stylized rhetoric of Trecento song through the popularizing trends of Quattrocento music and on to the union of verbal and musical cadence that marked the high Renaissance in sixteenth-century Italian music. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.
Reflections on Musical Meaning and Its Representations
How is it possible to talk or write about music? What is the link between graphic signs and music? What makes music meaningful? In this book, distinguished scholar Leo Treitler explores the relationships among language, musical notation, performance, compositional practice, and patterns of culture in the presentation and representation of music. Treitler engages a wide variety of historical sources to discuss works from medieval plainchant to Berg's opera Lulu and a range of music in between.
Singing Games in Early Modern Italy
In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
Hearing the Motet
The motet was unquestionably one of the most important vocal genres from its inception in late twelfth-century Paris through the Counter-Reformation and beyond. Heard in both sacred and secular contexts, the motet of the Middle Ages and Renaissance incorporated a striking wealth of meaning, its verbal textures dense with literary, social, philosophic, and religious reference. In Hearing the Motet, top scholars in the field provide the fullest picture yet of the motet's "music-poetic" nature, investigating the virtuosic interplay of music and text that distinguished some of the genre's finest work and reading individual motets and motet repertories in ways that illuminate their historical and...
Music Education in the Middle Ages and the Renaissance
What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other -- including gender, social status, and the role of the Church -- to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.
Early Music History
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume eleven include: Music and festivities at the court of Leo X: a Venetian view; Jean de Castro, the Pense partbooks and musical culture in sixteenth-century Lyons; The lost chant tradition of early Christian Jerusalem: some possible melodic survivals in the Byzantine and Latin chant repertories; Rome as the centre of the universe: papal grace and musical patronage.
