Bernard D. Sherman
- Published in print:
- 2003
- Published Online:
- January 2010
- ISBN:
- 9780195169454
- eISBN:
- 9780199865017
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195169454.003.0006
- Subject:
- Music, History, Western
The mainstream repertory is so heavily Germanic that a novice of an earlier generation might easily have imagined that classical music had always been Teutonic territory. But in the art music of the ...
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The mainstream repertory is so heavily Germanic that a novice of an earlier generation might easily have imagined that classical music had always been Teutonic territory. But in the art music of the Renaissance, the crucial region was what is now Belgium and northern France. Franco-Flemings like Dufay and Ockeghem dominated the 15th century, and their follower Josquin Desprez established the polyphonic style that dominated the 16th-century. This chapter presents an interview with Paul Hillier on Renaissance sacred music, the concept of definitive realization, size of an ensemble, how to perform a Renaissance piece, William Byrd’s Anglican works, instrumental accompaniment, voice production during the Renaissance, use of unwritten accidentals, barline as a musically significant element, transposition, intonation, improvisation, and authenticity and articulation in Renaissance music.Less
The mainstream repertory is so heavily Germanic that a novice of an earlier generation might easily have imagined that classical music had always been Teutonic territory. But in the art music of the Renaissance, the crucial region was what is now Belgium and northern France. Franco-Flemings like Dufay and Ockeghem dominated the 15th century, and their follower Josquin Desprez established the polyphonic style that dominated the 16th-century. This chapter presents an interview with Paul Hillier on Renaissance sacred music, the concept of definitive realization, size of an ensemble, how to perform a Renaissance piece, William Byrd’s Anglican works, instrumental accompaniment, voice production during the Renaissance, use of unwritten accidentals, barline as a musically significant element, transposition, intonation, improvisation, and authenticity and articulation in Renaissance music.
Jane A. Bernstein
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195102314
- eISBN:
- 9780199853113
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102314.001.0001
- Subject:
- Music, History, Western
Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, ...
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Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, the house of Scotto played a pivotal role in the international book trade, publishing in a variety of fields including philosophy, medicine, religion, and music. This book examines the mercantile activities of the firm through both an historical study, which illuminates the wide world of the Venetian music printing industry, and a catalog, which details the music editions brought out by the firm during its most productive period. This book enhances understanding of the socioeconomic and cultural history of Renaissance Venice and helps to preserve our knowledge of a vast musical repertory.Less
Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, the house of Scotto played a pivotal role in the international book trade, publishing in a variety of fields including philosophy, medicine, religion, and music. This book examines the mercantile activities of the firm through both an historical study, which illuminates the wide world of the Venetian music printing industry, and a catalog, which details the music editions brought out by the firm during its most productive period. This book enhances understanding of the socioeconomic and cultural history of Renaissance Venice and helps to preserve our knowledge of a vast musical repertory.
Lewis Lockwood
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195378276
- eISBN:
- 9780199852376
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195378276.003.0001
- Subject:
- Music, History, Western
The aim of this book is to trace the development of Ferrara, in its first and greatest period, as a matrix for music in all its forms. In a sense the story is a microcosm of the larger development of ...
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The aim of this book is to trace the development of Ferrara, in its first and greatest period, as a matrix for music in all its forms. In a sense the story is a microcosm of the larger development of music in the period as a whole. It moves from faint beginnings under Niccolò III d'Este to the first international chapel of singers founded by Leonello in the 1440s; to the emphasis on courtly improvisatory singing and instrumentalists under Borso; and, in the last three decades of the century, to the assimilation of international musical traditions under Ercole I d'Este. The story is also one that aims to explore the role of music in the cultural life of the period, and a primary assumption is that the main protagonists, the patrons and the musicians, are best seen as members of a mutually beneficial system.Less
The aim of this book is to trace the development of Ferrara, in its first and greatest period, as a matrix for music in all its forms. In a sense the story is a microcosm of the larger development of music in the period as a whole. It moves from faint beginnings under Niccolò III d'Este to the first international chapel of singers founded by Leonello in the 1440s; to the emphasis on courtly improvisatory singing and instrumentalists under Borso; and, in the last three decades of the century, to the assimilation of international musical traditions under Ercole I d'Este. The story is also one that aims to explore the role of music in the cultural life of the period, and a primary assumption is that the main protagonists, the patrons and the musicians, are best seen as members of a mutually beneficial system.
Reinhard Strohm
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853238256
- eISBN:
- 9781846313615
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853238256.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter examines the problem with the musical work-concept and considers precedents in Renaissance music for both work-status and the work-concept. It looks at the history of the debate over the ...
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This chapter examines the problem with the musical work-concept and considers precedents in Renaissance music for both work-status and the work-concept. It looks at the history of the debate over the nature of the musical work and the existence (or not) of a watershed in music history during the late eighteenth or early nineteenth century. It argues that the work is a robust, long-established concept within Western art music. The chapter also discusses Lydia Goehr's history of the work-concept, which implies the confusion of philosophical aesthetics with historiography, as well as alternative narratives of musical work, such as Michael Talbot's account.Less
This chapter examines the problem with the musical work-concept and considers precedents in Renaissance music for both work-status and the work-concept. It looks at the history of the debate over the nature of the musical work and the existence (or not) of a watershed in music history during the late eighteenth or early nineteenth century. It argues that the work is a robust, long-established concept within Western art music. The chapter also discusses Lydia Goehr's history of the work-concept, which implies the confusion of philosophical aesthetics with historiography, as well as alternative narratives of musical work, such as Michael Talbot's account.
Mauro Calcagno (ed.)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520267688
- eISBN:
- 9780520951525
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267688.001.0001
- Subject:
- Music, History, Western
This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the ...
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This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. The author traces the roots of dialogic subjectivity to Petrarch's love poetry, arguing that Petrarchism exerted a powerful influence, not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.Less
This pathbreaking study links two traditionally separate genres as their stars crossed to explore the emergence of multiple selves in early modern Italian culture and society. Calcagno focuses on the works of Claudio Monteverdi, a master of both genres, to investigate how they reflect changing ideas about performance and role-playing by singers. The author traces the roots of dialogic subjectivity to Petrarch's love poetry, arguing that Petrarchism exerted a powerful influence, not only on late Renaissance literature and art, but also on music. Covering more than a century of music and cultural history, the book demonstrates that the birth of opera relied on an important feature of the madrigalian tradition: the role of the composer as a narrative agent enabling performers to become characters and hold a specific point of view.
