Music, Myth and Story in Medieval and Early Modern Europe PDF
Preview Music, Myth and Story in Medieval and Early Modern Europe
Myths and stories offer a window onto medieval and early modern musical M culture. Far from merely offering material for musical settings, authoritative tales from classical mythology, ancient history and the Bible were treated U as foundations for musical knowledge. Such myths were cited in support of S arguments about the uses, effects, morality and preferred styles of music in sources as diverse as theoretical treatises, defences or critiques of music, inI C MUSIC, art, sermons, educational literature and books of moral conduct. Newly M e, written literary stories too were believed capable of moral instruction and d iM influence, and were a medium through which ideas about music could e v a be both explored and transmitted. How authors interpreted and weaved lY a MYTH together these traditional stories, or created their own, reveals much about nT d changing attitudes across the period. EH a Looking beyond the well-known figure of Orpheus, this collection explores r l y a the myriad stories that shaped not only musical thought, but also its styles, M and n techniques and practices. The essays show that music itself performed o dd and created knowledge in ways parallels to myth, and worked in tandem e r with old and new tales to construct social, political and philosophical n S C STORY views. This relationship was not static, however; as the Enlightenment uT l dawned, the once authoritative gods became comic characters and myth t uO r became a medium for ridicule. Overall, the book provides a foundation for e exploring myth and story throughout medieval and early modern culture, R and facilitating further study into the Enlightenment and beyond. Y in KATHERINE BUTLER is a senior lecturer in music at Northumbria University. SAMANTHA BASSLER is a musicologist of cultural studies, a teaching artist, and an adjunct Medieval professor in the New York metropolitan area. aE nd di Contributors: Jamie Apgar, Katie Bank, Samantha Bassler, Katherine Butler, Elina G. Hamilton, Ste and Early ad Sigrid Harris, Ljubica Ilic, Erica Levenson, John MacInnis, Patrick McMahon, Aurora Faye Martinez, m b Jacomien Prins, Tim Shephard, Jason Stoessel, Férdia J. Stone-Davis, Amanda Eubanks Winkler. any K Modern t ha Cover Image: Suzanne de Court, Minerva Visits the Muses on Mount Helicon, painted enamel mirror, ath early 17th century. Robert Lehman Collection, 1975, The Metropolitan Museum of Art, New York. Be Culture ar Public Domain. Cover design by Greg Jorss. sin s le e rB u t l e r Edited by Katherine Butler an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk I PI2 3DF and and Samantha Bassler 668 Mt Hope Ave, Rochester NY 14620, USA studies in medieval and renaissance music 19 Music, Myth and Story in Medieval and Early Modern Culture Studies in Medieval and Renaissance Music issn 1479-9294 General Editors Tess Knighton Helen Deeming This series aims to provide a forum for the best scholarship in early music; deliberately broad in scope, it welcomes proposals on any aspect of music, musical life, and composers during the period up to 1600, and particularly encourages work that places music in an historical and social context. Both new research and major re-assessments of central topics are encouraged. Proposals or enquiries may be sent directly to the editor or the pub- lisher at the addresses given below; all submissions will receive careful, informed consideration. Professor Tess Knighton, Institucio Mila i Fontanals/CSIC, c/ Egipciaques, Barcelona 08001, Spain Dr Helen Deeming, Department of Music, Royal Holloway, University of London, Egham, Surrey tw20 0ex Boydell & Brewer, PO Box 9, Woodbridge, Suffolk ip12 3df Previously published titles in the series are listed at the back of this volume. Music, Myth and Story in Medieval and Early Modern Culture Edited by Katherine Butler and Samantha Bassler the boydell press © Contributors 2019 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2019 The Boydell Press, Woodbridge ISBN 978-1-78327-371-3 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620–2731, USA website: www.boydellandbrewer.com A CIP catalogue record for this title is available from the British Library The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate This publication is printed on acid-free paper Typeset in Adobe Arno Pro by Sparks Publishing Services Ltd—www.sparkspublishing.com Contents List of Illustrations vii List of Contributors x Editors’ Note xiv Introduction 1 Katherine Butler and Samantha Bassler i myth in medieval music theory and philosophy 1 Music and the Myth of Apollo’s Grove 17 John MacInnis 2 The Consolation of Philosophy and the ‘Gentle’ Remedy of Music 32 Férdia J. Stone-Davis 3 And in England, There are Singers: Grafting Oneself into the Origins of Music 46 Elina G. Hamilton ii iconologies of music and myth 4 The Harmonious Blacksmith, Lady Music and Minerva: The Iconography of Secular Song in the Late Middle Ages 63 Jason Stoessel 5 Foolish Midas: Representing Musical Judgement and Moral Judgement in Italy c.1520 87 Tim Shephard and Patrick McMahon iii myths in renaissance philosophies of music 6 Marsilio Ficino and Girolamo Cardano under Orpheus’s Spell 107 Jacomien Prins 7 Origin Myths, Genealogies and Inventors: Defining the Nature of Music in Early Modern England 124 Katherine Butler vi Contents iv myth and musical practice 8 How to Sing like Angels: Isaiah, Ignatius of Antioch and Protestant Worship in England 141 Jamie Apgar 9 In Pursuit of Echo: Sound, Space and the History of the Self 156 Ljubica Ilic v narratives of performance 10 Ophelia’s Mad Songs and Performing Story in Early Modern England 169 Samantha Bassler 11 Dangerous Beauty: Stories of Singing Women in Early Modern Italy 187 Sigrid Harris vi myth and music as forms of knowledge 12 ‘Fantastic Spirits’: Myth and Satire in the Ayres of Thomas Weelkes 207 Katie Bank 13 Feeling Fallen: A Re-telling of the Biblical Myth of the Fall in a Musical Adaptation of Marvell’s ‘A Dialogue between Thyrsis and Dorinda’ 224 Aurora Faye Martinez vii re-imagining myths and stories for the stage 14 ‘Armida’s Picture we from Tasso Drew’?: The Rinaldo and Armida Story in Late Seventeenth- and Early Eighteenth-Century English Operatic Entertainments 241 Amanda Eubanks Winkler 15 Translating Myth Through Tunes: Ebenezer Forrest’s Ballad Opera Adaptation of Louis Fuzelier’s Momus Fabuliste (1719–29) 259 Erica Levenson Bibliography 277 Index 305 Illustrations Colour Plates i Andrea di Bonaiuto da Firenze, Triumph of Saint Thomas Aquinas (post restoration 2003–4), detail of the Seven Liberal Arts on the right. Florence, Santa Maria Novella, Cappellone degli Spagnoli. © 2018 Photo SCALA, Florence, courtesy of Musei Civici Fiorentini ii Sandro Botticelli, Philosophy Presenting Lorenzo Tornabuoni(?) to the Seven Liberal Arts. Musée du Louvre. © Zenodot Verlagsgesellschaft mbH. Licensed under the GNU Free Documentation License, www. gnu.org/licenses/fdl.html iii Berlin, Staatsbibliothek Museen de Stiftung Preussischer Kulturbesitz: Kupferstichkabinett, MS 78.C.28. Image © 2018 bpk-Bildagentur iv Florence, Biblioteca Nazionale Centrale: Banco Rari 229, fol.IV verso. Reproduced by permission of the Italian Ministry of Cultural Heritage and Activities, and Tourism (MiBACT). Further reproduction prohibited v Dosso Dossi, Allegory of Music. Florence, Museo Horne. © 2018 Photo SCALA, Florence vi Cima da Conegliano, Judgement of Midas, oil on panel, 43 × 73 cm, 1513–17. National Gallery of Denmark, Copenhagen. © SMK Photo vii Lorenzo Lotto, Allegory of Virtue and Vice, oil on panel, 57 × 42 cm, 1505. National Gallery of Art, Washington, DC. Photograph courtesy of the National Gallery of Art, Washington viii Agnolo Bronzino, Apollo and Marsyas, oil on panel transferred to canvas, 48 × 119 cm, c.1530–2. Hermitage Museum, St Petersburg. Photograph © The State Hermitage Museum. Photo by Leonard Kheifets ix Marco Jadra, Polygonal Virginals, cypress, maple, ebony and ivory, 17.1 × 146.3 (front) × 42.6 cm, 1568. Victoria & Albert Museum, London. Photograph © Victoria & Albert Museum, London x Sir Anthony van Dyck (Flemish 1599–1641), Rinaldo and Armida (1629), oil on canvas, 93 × 90 in. (253.3 × 228.7 cm). The Baltimore Museum of Art: The Jacob Epstein Collection, BMA 1951.103. Photograph by Mitro Hood viii Illustrations Black and White Plates 4.1 Coëtivy Master (Henri de Vulcop?), Philosophy Presenting the Seven Liberal Arts to Boethius. Los Angeles, J. Paul Getty Museum: MS. 42, fol.2v. Digital image courtesy of the Getty’s Open Content Program 69 4.2 Musica shown in an Initial from a Copy of Boethius’s De musica. London, British Library: Burney 275, fol.359v. Image by the British Library. Public domain 69 4.3 Minerva. Paris, Bibliothèque Nationale de France: frç. 12420, fol.13v. Reproduced by permission of the library 81 4.4 Minerva. Paris, Bibliothèque National de France: frç. 598, fol.13r. Reproduced by permission of the library 82 6.1 Girolamo Cardano, ‘Lament’ in De tranquillitate, OO, vol. 2, pp. 346–7. Reproduced from the facsimile reprint of Cardano’s Opera Omnia with the kind permission of Frommann-Holzboog Verlag e.K. 120 Musical Examples 12.1 Thomas Weelkes, ‘Ha Ha’, Ayres and Fantastic Spirits (London, 1608), bars 1–5, transcribed by Francis Bevan 213 12.2 Thomas Weelkes, ‘Since Robin’, Ayres and Fantastic Spirits (London, 1608), bars 6–12, transcribed by Francis Bevan 217 12.3 Thomas Weelkes, ‘Aye Me Alas’, Ayres and Fantastic Spirits (London, 1608), bars 8–10, transcribed by Francis Bevan 220 14.1 John Eccles, ‘For Revenge to Armida We Call’, bars 1–7, from Rinaldo and Armida, London, British Library, Add. MS 29738 248 Figures 1.1 The Order of Planetary Orbits According to Eriugena 27 14.1 Structural Similarities between The British Enchanters and Rinaldo 250 14.2 Comparison of Rinaldo and Armida and Rinaldo 251 Tables 1.1 Greater Perfect System as Presented by Boethius in De institutione musica 22 1.2 Lesser Perfect System as Presented by Boethius in De institutione musica 23 Illustrations ix 1.3 Immutable System, Combining both the Greater and Lesser Perfect Systems 23 1.4 Eriugena’s Listing of the Tetrachords of the Immutable System Compared to De nuptiis, Book IX and Boethius’s De institutione musica, Book I 25 3.1 London, British Library: Lansdowne MS 763, fol.56v 47 3.2 Sources for Definitions of Musicus and Cantores 51 3.3 Comparison of Passages on the Origin of Music in De origine et effectu musicae 54 4.1 The Ordering of the Liberal Arts 66 4.2 The Pairing of the Liberal Arts with their Inventors 67 4.3 Text and Translation of Francesco Landini’s Musica son 71 15.1 Verse Sung by Momus from Destouches and La Motte’s Issé (1719), Act IV, Scene 3 269 15.2 Verse Sung by Momus in the Final Vaudeville of Fuzelier’s Momus Fabuliste (1719) 273 15.3 Verse and Marginalia from ‘Momus Fabuliste’, Recueil de chansons choisies en vaudevilles. Pour servir à l’histoire, anecdottes depuis 1697 jusques à 1731 273 The editors, contributors and publisher are grateful to all the institutions and per- sons listed for permission to reproduce the materials in which they hold copyright. Every effort has been made to trace the copyright holders; apologies are offered for any omission, and the publisher will be pleased to add any necessary acknowledge- ment in subsequent editions.
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