The Cambridge History of Fifteenth-Century Music PDF
Preview The Cambridge History of Fifteenth-Century Music
THE CAMBRIDGE HISTORY OF FIFTEENTH-CENTURY MUSIC Throughforty-fivecreativeandconciseessaysbyaninternationalteamof authors,thisCambridgeHistorybringsthefifteenthcenturytolifeforboth specialistsandgeneralreaders.Combiningthebestqualitiesofsurveytexts andscholarlyliterature,thebookoffersauthoritativeoverviewsofcentral composers,genres,andmusicalinstitutionsaswellasnewandprovocative reassessmentsoftheworkconcept,theboundariesbetweenimprovisation andcomposition,thepracticeoflistening,humanism,musicalborrowing, and other topics. Multidisciplinary studies of music and architecture, feasting,poetry,politics,liturgy,andreligiousdevotionrubshoulderswith studiesofcompositionaltechniques,musicalnotation,musicmanuscripts, andreceptionhistory.Generouslyillustratedwithfiguresandexamples,this volumepaintsavibrantpictureofmusicallifeinaperiodcharacterizedby extraordinaryinnovationandartisticachievement. ANNA MARIA BUSSE BERGER is Professor of Medieval and Renaissance MusicHistoryandTheoryattheUniversityofCalifornia,Davis.Shehas published articles and books on notation, mensuration and proportion signs,mathematicsandmusic,andmusicandmemory.In1997shewas awardedaGuggenheimFellowship;in2005–6shewastheLehmanVisiting ProfessoratVillaITatti,Florence.ShewontheAlfredEinsteinAwardfor thebestarticlebyayoungscholarin1991,and,in2006,theWallaceBerry AwardforthebestbookfromtheSocietyforMusicTheoryandanASCAP DeemsTaylorAwardforherbookMedievalMusicandtheArtof Memory (2005;Italiantranslation,2008).In2014shewontheColinSlimAward fromtheAmericanMusicologicalSocietyandtheBrunoNettlAwardfrom the Society forEthnomusicology.In 2011–12she was the Lise Meitner Fellow at the University of Vienna, where she worked on her current projecton“MusicinMissionStationsinEastAfrica.”Currentlysheisa FellowatWissenschaftskollegzuBerlin. JESSERODINisAssociateProfessorofMusicatStanfordUniversity.Heis the author of Josquin’s Rome: HearingandComposingin the SistineChapel (2012)andavolumeofL’hommearmémassesfortheNewJosquinEdition (2014).HedirectstheJosquinResearchProject(josquin.stanford.edu),a digitalsearch-and-analysistoolforexploringalargecorpusofRenaissance music, and Cut Circle (cutcircle.org), a vocal ensemble performing fifteenth-centurymusic.Hisworkhasbeenrecognizedwithawardsand fellowshipsbytheAmericanMusicologicalSociety,theAmericanCouncil ofLearnedSocieties,andtheAmericanSocietyofComposers,Authors, and Publishers. Current projects include a monograph on “form” in fifteenth-centurymusic(Cambridge),andarecordingofthefourlatecyclic massesofGuillaumeDuFay(CutCircleandMusiqueenWallonie). THE CAMBRIDGE HISTORY OF MUSIC The Cambridge History of Music comprises a group of reference works concerned with significant strands of musical scholarship. The individual volumes are self-contained and include histories of music examined by centuryaswellasthehistoryofopera,musictheoryandAmericanmusic. Eachvolumeiswrittenbyateamofexpertsunderaspecialisteditorand representsthelatestmusicologicalresearch. TheCambridgeHistoryofAmericanMusic EditedbyDavid Nicholls TheCambridgeHistoryofWesternMusicTheory EditedbyThomas Christensen TheCambridgeHistoryofMusicalPerformance EditedbyColin Lawson and Robin Stowell TheCambridgeHistoryofWorldMusic EditedbyPhilip V. Bohlman TheCambridgeHistoryofFifteenth-CenturyMusic EditedbyAnna Maria Busse Berger and Jesse Rodin TheCambridgeHistoryofSeventeenth-CenturyMusic EditedbyTim Carter and John Butt TheCambridgeHistoryofEighteenth-CenturyMusic EditedbySimon P. Keefe TheCambridgeHistoryofNineteenth-CenturyMusic EditedbyJim Samson TheCambridgeHistoryofTwentieth-CenturyMusic EditedbyNicholas Cook and Anthony Pople THE CAMBRIDGE HISTORY OF FIFTEENTH-CENTURY MUSIC * EDITED BY ANNA MARIA BUSSE BERGER AND JESSE RODIN UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9781107015241 ©CambridgeUniversityPress2015 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2015 PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata TheCambridgehistoryoffifteenth-centurymusic/editedbyAnnaMariaBusse BergerandJesseRodin. pages cm–(TheCambridgehistoryofmusic) Includesbibliographicalreferencesandindex. ISBN978-1-107-01524-1 1. Music–15thcentury–Historyandcriticism. I. Berger,AnnaMaria Busse. II. Rodin,Jesse. ML172.C33 2015 780.90031–dc23 2014034794 ISBN978-1-107-01524-1Hardback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyof URLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. ForDaphnaandKarol Contents Listoffigures xii Listofmusicexamples xv Notesoncontributors xix Acknowledgments xxvii Abbreviations xxviii Introduction 1 ANNA MARIA BUSSE BERGER AND JESSE RODIN PART I HISTORIOGRAPHY 19 LISTENING 20 1.HearingJosquinhearingBusnoys 21 MICHAEL LONG 2.Religionandthesensesinfifteenth-centuryEurope 40 KLAUS PIETSCHMANN TERMS AND CONCEPTS 53 3.Theworkconcept 55 LAURENZ LÜTTEKEN 4.TheL’hommearmétradition–andthelimits ofmusicalborrowing 69 JESSE RODIN COMPOSER STUDIES 85 5.GuillaumeDuFay:evidenceandinterpretation 87 ALEJANDRO ENRIQUE PLANCHART [vii] viii Contents 6.Jeand’Ockeghem 105 LAWRENCE F. BERNSTEIN 7.Josquinandepistemology 119 JESSE RODIN PART II IMPROVISATION AND COMPOSITION 137 8.Oralcompositioninfifteenth-centurymusic 139 ANNA MARIA BUSSE BERGER 9.Improvisationasconceptandmusicalpractice inthefifteenthcentury 149 PHILIPPE CANGUILHEM 10.HowdidOswaldvonWolkensteinmake hiscontrafacta? 164 ANNA MARIA BUSSE BERGER 11.Makingamotet:Josquin’sAveMaria...virgoserena 183 JOHN MILSOM 12.Theoriginsofpervasiveimitation 200 JULIE E. CUMMING AND PETER SCHUBERT PART III HUMANISM 229 13.HumanismandmusicinItaly 231 JAMES HANKINS 14.Fifteenth-centuryhumanismandmusic outsideItaly 263 REINHARD STROHM 15.Poetichumanismandmusicinthefifteenthcentury 281 LEOFRANC HOLFORD-STREVENS 16.Canterinoandimprovvisatore:oralpoetryandperformance 292 BLAKE WILSON Contents ix 17.Liturgicalhumanism:saints’Officesfrom theItalianpeninsulainthe fifteenthcentury 311 ALISON K. FRAZIER PART IV MUSIC AND OTHER ARTS 331 18.Architectureandmusicinfifteenth-centuryItaly 333 DEBORAH HOWARD 19.Musicandfeastsinthefifteenthcentury 361 ANTHONY M. CUMMINGS 20.FrenchlyricsandsongsfortheNewYear,ca.1380–1420 374 YOLANDA PLUMLEY PART V MUSIC IN CHURCHES, COURTS, AND CITIES 401 21.Musicalinstitutionsinthefifteenthcentury andtheirpoliticalcontexts 403 KLAUS PIETSCHMANN 22.MusicandmusiciansattheBurgundiancourt inthefifteenthcentury 427 DAVID FIALA 23.Thepapalchapelinthelatefifteenthcentury 446 RICHARD SHERR 24.Thebeneficialsystemandfifteenth-centurypolyphony 463 PAMELA F. STARR 25.Professionalwomensingersinthefifteenthcentury: ataleoftwoAnnas 476 BONNIE J. BLACKBURN 26.SavonarolaandtheboysofFlorence:songsandpolitics 486 PATRICK MACEY
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