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Qui musicam in se habet

MISC 9 Cover

Contents and Sample Pages (PDF)

MISC 9  Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart

Edited by Anna Zayaruznaya, Bonnie J. Blackburn, & Stanley Boorman.

        1st. ed.     2015
    xxiv + 854 pp.
MISC 9     978-1-59551-514-8     $130.00

The dizzying erudition of Alejandro Enrique Planchart is reflected and celebrated in this collection of thirty-six essays offered to him by an international coterie of scholars. Mirroring the dedicatee’s broad interests, the contributions range from the sixth century to the twenty-first, encompassing Europe, Southeast Asia, and North America and exploring music and the people who wrote and performed it. Chant, its transmission, and reform—areas where Planchart’s work has been foundational—are treated in essays by Angelo Rusconi, Luisa Nardini, James Vincent Maiello, Deborah Kauffman, and Rebecca G. Marchand, while James Grier, Thomas Forrest Kelly, Michel Huglo, Barbara Haggh-Huglo, and William F. Prizer explore musical production linked to the cults of saints and confraternities. Renaissance polyphony—another field in which Planchart has been a pioneer—is explored from a range of angles, with Reinhard Strohm, Joshua Rifkin, and Alison Sanders McFarland investigating problems of attribution and the authority of composers. Evan A. MacCarthy, Margaret Bent, Jane Alden, David Fiala, Richard Sherr, and William John Summers afford insight into the the lives of singers, while Alexander Blachly, Agostino Ziino, Robert Nosow, and Jaap van Benthem elucidate the at times promiscuous lives of songs. Leofranc Holford-Strevens, Carolann Buff, and Michael K. Phelps provide generic and ceremonial contexts for the motets of Guillaume Du Fay and his contemporaries, and Kristine K. Forney, Alicia M. Doyle, David Fallows, Sean Gallagher, and Honey Meconi focus on the material traces of liturgical polyphony, songbooks, and motets. Rob C. Wegman, Emily Zazulia, and Bonnie J. Blackburn lend a personal and social frame to the reading of music theory, and Susan Rankin, Jesse Rodin, and Jonathan D. Bellman provide glimpses of the vitality and virtuosity that have undergirded musical and music-theoretical production in the last millennium. Musical offerings by Fabrice Fitch and Richard L. Crocker frame the collection to which a list of the Publications, Compositions, and Recordings of Magister Alejandro serves as a cauda.

Acknowledgments   xi
List of Illustrations    xiii
List of Music Examples   xvii
Abbreviations   xxi
Note on Terminology   xvi

1. Anna Zayaruznaya, "Introduction"   3
2. Fabrice Fitch, "Fanfare, Agricola IXa: Je nay dueil"  11

I. Chant Transmitted and Reformed
3. Angelo Rusconi, "The Old Milanese Hymn for Saint John the Baptist"   21
4. Luisa Nardini, "The Masses for the Holy Cross in Some Italian Manuscripts"   41
5. James Vincent Maiello, "Updating the Alleluia at Pistoia"   71
6. Deborah Kauffman, "Guillaume-Gabriel Nivers's Plain-chant musical Motets in
         the Repertory of the Maison Royale de Saint-Louis at Saint-Cyr"   93
7. Rebecca G. Marchand, "Missa Eclectica: Lou Harrison and Artistic Ideologies after
         Vatican II"   121

II. Cults
8. James Grier, "The Tropes for Saint Androchius at the Abbeys of Saint Martial and
         Saint Martin in Limoges   149
9. Thomas Forrest Kelly, "The Office of Saint Donatus at Benevento"   157
10. Michel Huglo† and Barbara Haggh-Huglo, "The Great Procession of
         St. Agatha in Florence and its Antiphon Paganorum multitudo"   175
11. William F. Prizer, "Popular Piety in Renaissance Mantua: The Lauda and Flagellant
         Confraternities"   183

III. The Lives of Singers
12. Evan A. MacCarthy, "New Light on Recruiting Singers during the Papal Schism:
         A Letter from Pope Urban VI"   225
13. Margaret Bent, "Orfeo: Dominus Presbiter Orpheus de Padua"   231
14. Jane Alden and David Fiala, "Dialogus de Johanne Sohier alias Fede"   257
15. Richard Sherr, "Splendeurs et misères des suppliques: Breton Singers in the
         Papal Chapel in the Late Fifteenth and Early Sixteenth Centuries"   285
16. William John Summers, "Forty-Eight Nights at the Opera: La compañía lirica francesa
         in Manila in 1865   315

IV. The Lives of Songs
17. Alexander Blachly, "Apropos Ma fin est mon commencement and Tout par compas:
         Two Canonic Rondeaux from Reims"   349
18. Agostino Ziino, "Osservazioni sulla ballata polistrofica nella tradizione musicale
         del Trecento"   381
19. Robert Nosow, "The Adventures of La belle se siet"   413
20. Jaap van Benthem, "Affection Unmasked? About the Misleading Transmission of a
         'Lost' Song by Johannes Tourout"   427

V. Ceremonial Motets
21. Leofranc Holford-Strevens, "The Latin Poetry of Johannes Ciconia and
         'Guilhermus'"   437
22. Carolann Buff, "The Italian Job: Ciconia, Du Fay, and the Musical Aesthetics of the
         Fifteenth-Century Italian Motet   471
23. Michael K. Phelps, "The Pagan Virgin? Du Fay's Salve Flos, a Second Consecration
         Motet for Santa Maria del Fiore"   501
VI. Sources Reconstructed and Reconsidered
24. Kristine K. Forney and Alicia M. Doyle, "Maria Unbound: Reconstructing and
         Contextualizing the Antwerp Manuscript Fragments M6   517
25. David Fallows, "The Velvet Songbooks"   551
26. Sean Gallagher, "Crispin van Stappen and Petrucci's Motetti a cinque"   563
27. Honey Meconi, "Alamire, Pierre de la Rue, and Manuscript Production in the Time
        of Charles V"   575

VII. Attribution and Authority,
28. Reinhard Strohm, "The Status of a Du Fay Contrafactum"   617
29. Joshua Rifkin, "Sound and Structure: Le marteau sans maître and Mille regretz"   635
30. Alison Sanders McFarland, "Josquin as Authority in Morales's Four-Voice
        Missa de Beata Virgine"   675

VIII. Practicing Theory
31. Rob C. Wegman, "The World according to Anonymous IV"   693
32. Emily Zazulia, "Whatever You Do, Don't Sing D: On the Notation of Obrecht's
        Missa L'homme armé
"   731
33. Bonnie J. Blackburn, "'Notes Secretly Fitted Together': Theorists on Enigmatic
        Canons—and on Josquin's Hercules Mass?"   743

IX. Music as Experience
34. Susan Rankin, "Organa dulcisona docto modulamine compta: Rhetoric and Musical
        in Composition the Winchester Organa"   763
35. Jesse Rodin, "Peaks, Valleys, and Form in Ockeghem's Sacred Music"   781
36. Jonathan D. Bellman, "Gershwin at the Piano: Performance Practice Methodology
        and its Limits"   805
37. Richard L. Crocker, "Six Sets of Tropes from Nevers"   821

Publications, Compositions, and Recordings by Alejandro Enrique Planchart   827
Notes on Contributors   837
Index of Manuscripts   843
General Index   845

Volume Supplement: Audio Files
Medieval Chant
Six Sets of Tropes from Nevers
Sung by Richard Crocker
Transcription by Ellen Jane Reier
Mastered to CD by Derek Bianchi
© 2015 Richard Crocker, Emeritus Press, Berkeley, California. Used with permisison.

For Puer natus est nobis (Christmas, 25 December)
1. Ecce adest (mp3 file)
2. Deus pater (mp3 file)
3. Gaudeamus hodie (mp3 file)
4. Ad eterne salutis (mp3 file)

For Statuit ei (St. Silvester, 31 January)
5. Splendificum (mp3 file)
6. Melliflui melodis (mp3 file)




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