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Canons and Canonic Techniques, 14th-16th Centuries
Although canons pervade music of the Middle Ages and the Renaissance, they have not received proportionate attention in the musicological literature. The contributions in this book shed light on canons and canonic techniques from a wide range of perspectives, such as music theory and analysis, compositional and performance practice, palaeography and notation, as well as listening expectations and strategies. Especially in the case of riddle canons, insights from other disciplines such as literature, theology, iconography, emblematics, and philosophy have proved crucial for a better understanding and interpretation of how such pieces were created. The essays extend from the early period of canonic writing to the seventeenth century, ending with three contributions concerned with the reception history of medieval and Renaissance canons in music and writings on music from the Age of Enlightenment to the present. This book was awarded the Special Citation by the Society for Music Theory in November 2008.
Liber magnificarum (1607)
The Spanish composer Sebastián de Vivanco (ca. 1551–1622) was born, like his revered contemporary Tomás Luis de Victoria, in Avila. Having secured prestigious cathedral and university posts at Salamanca, Vivanco saw through the press, between 1607 and 1614, three luxury choirbooks containing 18 Magnificats, 10 masses, and 72 motets, spread over a total of more than 900 printed pages. The first of these choirbooks, all of which were printed by the Fleming Artus Taberniel and his wife Susana Muñoz, is a cycle of Magnificats providing polyphony for the odd- and even-numbered verses in all eight tones, plus one extra Magnificat in each of the much-used first and eighth tones. If Vivanco has been eclipsed for too long by his great contemporary and compatriot, it is in the complexity and ingenuity of the many canons to be found in these Magnificats that Vivanco outshines even Victoria.
A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of the Habsburg family’s musical patronage over a broad span of time.
The Song of Songs Through the Ages
The Song of Songs is a fascinating text. Read as an allegory of God’s love for Israel, the Church, or individual believers, it became one of the most influential texts from the Bible. This volume includes twenty-three essays that cover the Song’s reception history from antiquity to the present. They illuminate the richness of this reception history, paying attention to diverse interpretations in commentaries, sermons, and other literature, as well as the Song’s impact on spirituality, theological and intellectual debates, and the arts.
The Requiem of Tomás Luis de Victoria (1603)
The first substantial study of Victoria's Requiem, among the most prominent Renaissance musical works, encompassing its genesis, style, and impact.
Senfl-Studien
Essays on the life and works of Ludwig Senfl.
Henricus Isaac (c.1450/5-1517)
Henricus Isaac gehört zu jenen frankoflämischen Komponisten, die durch ihr Wirken an zentralen musikalischen Institutionen Europas die Musik um 1500 maßgeblich beeinflussten. Seine Tätigkeit u. a. für Kaiser Maximilian I. brachte ihn in Kontakt mit verschiedenen kompositorischen Traditionen, Musizierpraktikten und Repertoires, was sich auch in der Art und Stilhöhe der Kompositionen niederschlägt. Der vorliegende Band präsentiert Beiträge, die anlässlich des 500. Todesjahres Isaacs im Jahr 2017 entstanden sind und die unterschiedlichsten Bereiche von dessen Wirken berücksichtigen. Schwerpunkte bilden Untersuchungen zu seinen Wirkungsstätten, Fragen der Quellenüberlieferung und die Auseinandersetzung mit der instrumentalen Rezeption und Aufführungspraxis seiner Werke.
Composing Community in Late Medieval Music
An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.
Ludwig Senfl, C.1490-1543, a Catalogue Raisonné of the Works and Sources
Until now, scholars have had an inadequate picture of the scope and transmission of the oeuvre of Ludwig Senfl (c.1490-1543), one of the most important Renaissance composers of the German-speaking lands. The current publication presents an extraordinary and exceptionally comprehensive catalogue raisonne for this Renaissance composer. The Senfl Catalogue serves as an encyclopaedic research tool for further scholarly investigation: it not only presents a lively and coherent picture of Senfl's oeuvre, but also helps to explore the broader musical culture of his time. At the same time, the in-depth presentation and analysis of Senfl's music provides Early Music performers with new information on repertory that adds to the soundscape of the Renaissance.
