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Borderline Areas in Fourteenth and Fifteenth-century Music / Grenzbereiche in der Musik des 14. und 15. Jahrhunderts.
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Contents and Sample Pages (PDF) |
MSD 55 Borderline Areas in Fourteenth and Fifteenth-century Music / Grenzbereiche in der Musik des 14. und 15. Jahrhunderts.
Edited by Karl Kügle and Lorenz Welker
1st. ed.
2009
36 cm
xii + 253 pp.
MSD 55
978-1-59551-497-4
$70.00
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Abstract
This volume unites eleven essays in four languages, selected among papers first presented at the International Symposia in Late Medieval and Renaissance Music held at Kloster Neustift / Novacella, South Tyrol, in 1997 and 2000. Their common thread is the exploration of borders and borderline areas in music of the fourteenth and early fifteenth century. The authors, all acknowledged scholars in their field, hail from countries and scholarly traditions as diverse as Israel, Greece, Italy, Spain, Germany, Great Britain and the United States.
Christian Berger explores the differentiation between French and Italian styles in early fifteenth-century music, while Alice V. Clark probes the musical patronage of a ‘black sheep’ in the house of Valois, Duke Louis I of Anjou (1339–84). Francesco Facchin casts light on music-related images from late medieval Padua. Maricarmen Gómez examines a little-studied cantorale from Palma de Mallorca. Irmgard Lerch-Kalavrytinos introduces a recently discovered fragment with Ars Nova motets. Lucia Marchi’s contribution traces intersections between music, devotion, and civic life in early Quattrocento Umbria. Jehoash Hirshberg and Andrew Kirk-man investigate transitional zones between oral composition and writing in settings from the Rossi codex (Hirshberg), and form and content in the music of Binchois (Kirkman). The semantic nodes between texts, musical settings and meanings are the subject of Virginia Newes’s study on mimesis and imitation, whilst Elizabeth Eva Leach maps out intertextualities between three polyphonic songs that (re-)interpret the Roman de la Rose. Anne-Marie Treacy examines the emotional use of song in Chaucer’s Book of the Duchess against the models provided by the dits of Guillaume de Machaut.
Contents
Foreword / Vorwort vii
Illustrations / Abbildungen ix
Abbreviations / Abkürzungen xi
Christian Berger, "Subtilitas und Melodicità. Französische und italienische Satztechniken in der Handschrift Pz" 3
Alice V. Clark, "Music for Louis of Anjou" 15
Francesco Facchin, "Rappresentazioni musicali nell'iconografia medievale padovana" 33
Maricarmen Gómez, "Una fuente desatendida con repertorio sacro mensural de fines del medioevo: el cantoral del Convento de la Concepción de Palma de Mallorca" 63
Jehoash Hirshberg, "From Descriptive to Prescriptive Notation in Early Trecento Music" 95
Andrew Kirkman, "Negotiating Form and Content in Fifteenth-Century Music: A View Through Some Mass Pairs by Binchois" 105
Irmgard Lerch-Kalavrytinos, "Ars Nova-Fragmente in Würzburg" 119
Virginia Newes, "The Cuckoo and the Nightingale: Patterns of Mimesis and Imitation in French Songs of the Late Middle Ages" 131
Lucia Marchi, "Music, Devotion, and Civic Life in Early Quattrocento Orvieto: A Paired Gloria-Credo for the Cathedral of Santa Maria della Stella" 157
Elizabeth Eva Leach, "Grafting the Rose: Machaut, the Ars Subtilior, and the Cyprus Balades" 195
Anne-Marie Treacy, "Et pour la joie que j'avoie ce rondelet fis: The Emotional Use of Song in Chaucer's Book of the Duchess" 221
Contributors / Mitarbeiter 233
Bibliography / Literaturverzeichnis 237
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