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"Mensural notation."
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Musical Epigraphies of Antiphon Salve Regina by Cristóbal de Morales: The Walls of the Sanctuary of Nuestra Señora del Pueyo, Villamayor de Gállego, Zaragoza
In 1990 a publication by Pedro Calahorra reported a unique musical notation of a Salve on the walls of the Sanctuary of Nuestra Señora del Pueyo in Villamayor de Gállego, Zaragoza. The contributions offered in this article have enhanced research in this area through a revised study of this musical epigraphy. The analysis of the palaeography of notation reveals the dating of the work and, therefore, a possible collation with the Spanish polyphonic sources belonging to the white mensural notation, determining that it is the Salve Regina in four by Cristóbal de Morales. This study aims to recognize musical epigraphies as historiographic-musical sources of information capable of intervening in the reconstruction of a musical past, so they must be restored, preserved, catalogued and displayed like any historical document, regardless of their physical support. The Salve Regina written on the walls of the Villamayor de Gállego sanctuary is the witness of a Christian tradition of devotion to the Virgin Mary. Within the Rite of Salve this chant was the most popular in the Iberian Peninsula during the Renaissance.
Journal Article
Semi-mensurale Informationen zur Liedrhythmik des 13. Jahrhunderts
Das Rhythmusproblem des hochmittelalterlichen Liedes gilt als unlösbar, seit die Diskussion vor mehr als vierzig Jahren zu einem kontroversen Stillstand gekommen ist.Sang man alle Lieder der Troubadours und Trouvères im 3/4-Takt, oder war den Melodien ein akzentloses, gregorianisches Schweben eigen?.
eBook
Composing in Theory
Antoine Busnoys’s Missa L’homme armé commits one notational error after another—at least according to Johannes Tinctoris. As several scathing passages in his Proportionale musices attest, Tinctoris abhors Busnoys’s mensural innovations. And yet Busnoys’s notational choices, while certainly idiosyncratic, are also arguably justifiable: the composer was merely finding ways of recording novel musical ideas that had no agreed-upon notational solutions. In this article I argue that Tinctoris’s response to Busnoys is not limited to the criticisms in his theoretical treatises. Tinctoris the composer responds far more comprehensively, and at times with far greater sympathy for Busnoys’s practice, in his own Missa L’homme armé. He echoes Busnoys’s mass notationally, in that he treats it as an example of what not to do; his response is also deeply musical, in that he tackles similar technical problems as a means of achieving analogous contrapuntal effects. Tinctoris’s and Busnoys’s settings need to be understood in the context of fifteenth-century masses, one in which composers were not necessarily content to work within the system but invented new ways of writing in order to create new sounds. In doing so, mere “composers” could sometimes achieve significance as “theorists.” Taken together, the L’homme armé masses of Busnoys and Tinctoris raise a range of historiographical issues that invite us to reassess the figure of the “theorist-composer.” This article thus not only contributes to the discourse on musical borrowing but also opens out to a broader framework, asking what it means for a late medieval musician to theorize—in music as well as in prose.
Journal Article
Diminution in the Theory of Johannes de Muris and His Followers
The earliest known theoretical discussion of diminution, which appears in the fourteenth-century Ars practica mensurabilis cantus (Libellus cantus mensurabilis) of Johannes de Muris, remained the standard text on the subject for more than a century. Changes in musical style and notational practices led to new definitions of the technique in the fifteenth century. Theorists responded to these changes not by revising Muris’s text, but by interpreting ambiguous statements in it in new ways. These changing concepts of diminution have implications for the analysis, editing, and performance of fourteenth- and fifteenth-century music.
Journal Article
Chronology of the Works of Guillaume Dufay
The book description for \"Chronology of the Works of Guillaume Dufay\" is currently unavailable.
eBook
What Fortune Can Do to a Minim
Among the numerous references to music in the writings of poet, composer, and Burgundian chronicler Jean Molinet, none is more puzzling than a passage from hisRoman de la rose moralisé(ca. 1500) that describes the misadventures of a note—a minim—fallen victim to Fortune. As it rides her wheel, it becomes a maxima and then a minim again, while its pitch is raised, then lowered. Another passage linking Fortune with transposition and mensural change occurs in Molinet'sPetit traictié soubz obscure poetrie. Both stories are exempla divorced from their immediate contexts, raising the possibility that Molinet may have been influenced by specific musical compositions related to Fortune. Aspects of notational usage andcantus-firmusmanipulation in theFortuna desperatamasses of Jacob Obrecht and Josquin des Prez make these works—especially the latter—likely influences for Molinet's strange digressions. And Molinet's exempla, insofar as they can help clarify previously misinterpreted aspects of both works, are an important early example of musical hermeneutics. The difficult relationship between Molinet's musical stories and the ostensibly sacred texts from which they digress also offers insight into the devotional functions of secular mass models.
Journal Article
CANTO LLANO Y POLIFONÍA EN EL \OFFICIUM DEFUNCTORUM\ DE TOMÁS LUIS DE VICTORIA: INTERACCIONES E INTERPRETACIÓN
In Victoria's \"Officium Defunctorum\" (1605), plainchant sections alternate in black square notation with polyphonic sections, where plainsong subsists in white mensural notation. Ortega Trillo analyzes the characteristics of these alternating sections of plainchant and polyphony.
Journal Article
EL CANTO LLANO EN LA TRATADÍSTICA DE LA ÉPOCA DE VICTORIA
By examining the musical treatises published in Spain between 1548 and 1614, it is possible to establish a hypothesis on aspects of the interpretation of plainchant and its process of transformation. The following three aspects demonstrate said transformation: (1) mensurality, with three different ways to measure or keep time; (2) explicit chromaticism in different contexts; and (3) modality. In the last two, the determining factors were the influence of polyphony and the process of \"tonalization\" in the music of this period.
Journal Article
The Monstrous Musical Body: Mythology and Surgery in Late Medieval Music Theory
This article analyzes three analogies based on monstrous anomaly described in late medieval music theory treatises. Jacques of Liège's 14th-century diatribe against the proponents of abnormal notational values such as larga (or duplex longa) invoked multicephalic or multi-limbed creatures, possibly recalling the Hydra of Lerna, Cerberus, or Medusa Gorgona. Fifteenth-century music theorist Ugolino of Orvieto's analysis of the eight ecclesiastical modes posited that the occurrence of structural anomalies within interval species engendered a monstrous, composite animal: Chimera. The third example, still from Ugolino, introduces a surgically \"manufactured,\" anthropomorphic monster. Its origin, traceable to actual 14th- and 15th-century surgical practice, suggests Ugolino's familiarity with contemporary surgical writings such as Guy de Chauliac's Chyrurgia magna. Furthermore, the monster also suggests Ugolino's actual connection with Michele Savonarola, physician to both Borso and Lionello d'Este at the court of Ferrara, and believed to have performed one of the two types of surgery present in Ugolino's analogy. [PUBLICATION ABSTRACT]
Journal Article