(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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MEDIEVAL & RENAISSANCE MUSIC CONFERENCE <strong>2007</strong> – WIEN, 7.-11. AUGUST ABSTRACTS available materials, as an examination of paleographical details and companion binding fragments reveals. A fair copy of a fragmentary four-voice Kyrie written out by a northern continental scribe provides the surviving remnant of an otherwise unknown source. Layout details suggest in fact that the fragment never formed part of a bound choirbook, but is instead a rare specimen of a fascicle preserved on its own for immediate practical use. In stylistic and notational terms, the Durham Kyrie can be dated within a decade or so of 1500, and the work’s employment of pre-existent melodic material and distinctive tonal structure reveal it to be a setting of the Kyrie heard at Eastertide in many Uses (Kyrie Lux et origo, in polyphonic settings typically titled Paschale). As comparative analysis demonstrates, the composers of Paschal Kyries around 1500 together created a subtradition with well-defined implicit parameters, and the music of the new fragment holds explicit ties to known works by composers such as Barbireau, La Rue, and Agricola. Investigation of the late-medieval sources of the monophonic Kyrie Lux et origo, moreover, confirms that the Durham Kyrie is the work of a composer employing chant material specifically from a native Low Countries tradition and helps to localize the origins of the setting. - 28 -
MEDIEVAL & RENAISSANCE MUSIC CONFERENCE <strong>2007</strong> – WIEN, 7.-11. AUGUST ABSTRACTS � � EDWARDS, Warwick (Department of Music, University of Glasgow) The Great Word-Note Shift Samstag/Saturday, 11.8., 11.15 Uhr, KuGe, SR 1 Music manuscripts, as every student of notation knows, are generally copied words-first before around 1450, notes-first thereafter. The shift is of seismic dimensions, occurring over a remarkably short space of time, and right across Europe. As such, it is arguably more dramatic – and certainly more pervasive linguistically – than the Great Vowel Shift that took place in English pronunciation gradually as the fifteenth century unfolded. It is all the more astonishing, then, to find so little analysis of it, what triggered it, and what its underlying implications might be. As I shall attempt to show, using examples from Austro-German sources, the shift is not just one of copying order, suggestive though that may be in itself: it is accompanied by changes in notation and writing methods too. The horizontal positioning of musical symbols is no longer conditioned – as it had been since their neumatic beginnings, long before musica mensurata was thought of – by consideration of the space occupied by specific individual syllables. Instead, melodies are spaced entirely on their own terms, words being subsequently positioned by composers and scribes in various ways that can be shown to conform to certain subliminal rules of behaviour, even though they lack uniformity and may seem random. Earthquakes, while unpredictable and sudden, generally result from the long-term build up of pressures deep below the surface, and may have unforeseen consequences. Such is the nature of the Great Word–Note Shift. It is both product and cause of significant changes of approach to musical composition and performance that fifteenth-century writers on music strove to characterise. � � EICHNER, Barbara (St Peter’s College Oxford) „Wir lobent das kindlin mit reychem schall, wir Nünnlen oder closterfrowen vberall“: Gesang in einem frühneuzeitlichen Zisterzienserinnenkloster Mittwoch/Wednesday, 8.8., 11.45 Uhr, KuGe, SR 1 Im 1267 gegründeten Zisterzienserinnenkloster in Kirchheim am Ries sind zwar bereits in der Weihnachtsgabenliste von 1435 vier Sängerinnen und die Novizinnen mit Geschenken bedacht, „so sye an syngend“, doch die handschriftliche Überlieferung von Musik setzt erst um 1500 ein. Während mehrere liturgische Handschriften im musikalisch aktiven Mutterkloster Kaisheim angefertigt wurden und die allgemeine zisterziensische Praxis widerspiegeln, verweisen geistliche Lieder, die in private Gebets- und Andachtsbücher der Schwestern sowie mystische Traktate eingetragen wurden, auf informelleres Singen und Musizieren im Kloster. In der Auswahl lateinischer, deutscher und gemischtsprachiger Lieder sind Einflüsse der dominikanisch geprägten Mystik und der Devotio moderna spürbar. Neben diesen verstreuten Zeugnissen bietet das sogenannte „Kirchheimer - 29 -
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(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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