Secular Renaissance Music Forms and Functions 1st Edition by Sean Gallagher 0754629465 9780754629467

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Product details:

ISBN 10: 0754629465 

ISBN 13: 9780754629467

Author: Sean Gallagher

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.

Table of contents:

Part I Sources and Transmission

1 James Haar (2004), ‘The Vatican Manuscript Urb. Lat. 1411: An Undervalued Source?’, in Marco Gozzi (ed.), Manoscritti di polifonia nel quattrocento Europeo: atti del Convegno internazionale di studi: Trento, Castello del Buonconsiglio, 18–19 ottobre 2002, Trent: Provincia autonoma di Trento, Soprintendenza per i beni librari e archivistici, 2004, pp. 65–91.

2 David Fallows (1990), ‘Embellishment and Urtext in the Fifteenth-Century Song Repertories’, Basler Jahrbuch für historische Musikpraxis, 14, pp. 59–85.

3 Joshua Rifkin (1976), ‘Pietrequin Bonnel and Ms. 2794 of the Biblioteca Riccardiana’, Journal of the American Musicological Society, 29, pp. 284–96.

4 David Fallows (2001), ‘Petrucci’s Canti Volumes: Scope and Repertory’, Basler Jahrbuch für Historische Musikpraxis, 25, pp. 39–52.

5 Stanley Boorman (1995), ‘Composition — Copying: Performance — Re-creation: The Matrix of Stemmatic Problems for Early Music’, in Renato Borghi and Pietro Zappalà (eds), L’edizione critica tra testo musicale e testo letterario, Lucca: Libreria Musicale Italiana, pp. 45–55.

6 Donna G. Cardamone (1999), ‘The Salon as Marketplace in the 1550s: Patrons and Collectors of Lasso’s Secular Music’, in Peter Bergquist (ed.), Orlando di Lasso Studies, Cambridge: Cambridge University Press, pp. 64–90.

Part II Genres

7 Martin Staehelin (1994), ‘The Constitution of the Fifteenth-Century German Tenor Lied: Drafting the History of a Musical Genre’, in John Kmetz (ed.), Music in the German Renaissance: Sources, Styles, and Contexts, Cambridge: Cambridge University Press, pp. 174–81.

8 Honey Meconi (1998), ‘Ockeghem and the Motet-Chanson in Fifteenth-Century France’, in Philippe Vendrix (ed.), Johannes Ockeghem: Actes du XLe Colloque international d’études humanists, Tours, 3–8 février 1997, Paris: Klincksieck, pp. 381–402.

9 Lawrence F. Bernstein (1996), ‘Josquin’s Chansons as Generic Paradigms’, in Jessie Ann Owens and Anthony Cummings (eds), Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, Warren, MI: Harmonie Park Press, pp. 35–55.

10 William F. Prizer (1986), ‘The Frottola and the Unwritten Tradition’, Studi musicali, 15, pp. 3–37.

11 James Haar (1981), ‘The Early Madrigal: A Re-appraisal of Its Sources and Its Character’, in Iain Fenlon (ed.), Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, Cambridge: Cambridge University Press, pp. 163–92.

12 Kate van Orden (2006), ‘Chanson and Air’, in James Haar (ed.), European Music, 1520–1640, Woodbridge: Boydell Press, pp. 193–224.

13 Ludwig Finscher (1994), ‘Lied and Madrigal, 1580–1600’, in John Kmetz (ed.), Music in the German Renaissance: Sources, Styles, and Contexts, Cambridge: Cambridge University Press, pp. 182–92.

Part III Composers and Contexts

14 David Fallows (1999), ‘“Trained and immersed in all musical delights”: Towards a New Picture of Busnoys’, in Paula Higgins (ed.), Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, Oxford: Clarendon Press, pp. 21–50.

15 Sean Gallagher (2007), ‘Seigneur Leon’s Papal Sword: Ferrara, Du Fay, and His Songs of the 1440s’, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 57, pp. 3–28.

16 Blake Wilson (2006), ‘Heinrich Isaac among the Florentines’, Journal of Musicology, 23, pp. 97–152.

17 Nino Pirrotta (1984), ‘Willaert and the Canzone Villanesca’, in Music and Culture in Italy from the Middle Ages to the Baroque, Cambridge, MA: Harvard University Press, pp. 175–97, 409–12.

18 Massimo Ossi (2008), ‘Monteverdi, Marenzio, and Battista Guarini’s “Cruda Amarilli”’, Music and Letters, 89, pp. 311–36.

Part IV Performers and Performance Issues

19 Tess Knighton (1992), ‘The a capella Heresy in Spain: An Inquisition into the Performance of the Cancionero Repertory’, Early Music, 20, pp. 560–81.

20 Howard Mayer Brown (1972), ‘Psyche’s Lament: Some Music for the Medici Wedding in 1565’, in Laurence Berman (ed.), Words and Music: The Scholar’s View: A Medley of Problems and Solutions Compiled in Honor of A. Tillman Merritt, Cambridge, MA: Department of Music, Harvard University, pp. 1–27.

21 Jeanice Brooks (2001), ‘From Minstrel to Courtier — The Royal Musique de Chambre and Courtly Ideals in Sixteenth-Century France’, Musikalischer Alltag im 15. und 16. Jahrhundert, Trossinger Jahrbuch für Renaissancemusik 1, Kassel: Bärenreiter, pp. 39–49.

22 Anthony Newcomb (1986), ‘Courtesans, Muses, or Musicians? Professional Women Musicians in Sixteenth-Century Italy’, in Jane Bowers and Judith Tick(eds), Women Making Music: The Western Art Tradition, 1150–1950, Urbana and Chicago: University of Illinois Press, pp. 90–115.

Part V Instrumental Music

23 John Ward (1952), ‘The Use of Borrowed Material in 16th-Century Instrumental Music’, Journal of the American Musicological Society, 5, pp. 88–98.

24 Keith Polk (1994), ‘Innovation in Instrumental Music 1450–1510: The Role of German Performers within European Culture’, in John Kmetz (ed.), Music in the German Renaissance: Sources, Styles, and Contexts, Cambridge: Cambridge University Press, pp. 202–14.

25 Warwick Edwards (1981), ‘Songs without Words by Josquin and His Contemporaries’, in Iain Fenlon (ed.), Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, Cambridge: Cambridge University Press, pp. 79–92.

Part VI Music and Poetry

26 Nino Pirrotta (1984), ‘Ricercare and Variations on O Rosa Bella’, in Music and Culture in Italy from the Middle Ages to the Baroque, Cambridge, MA: Harvard University Press, pp. 145–58, 401–06.

27 Martha Feldman (1989), ‘The Composer as Exegete: Interpretations of Petrarchan Syntax in the Venetian Madrigal’, Studi musicali, 18, pp. 203–38.

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