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

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MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS This paper aims to map the discourses of aesthetic excess that have long characterized the Germanic reception history of the motet from Ambros to Finscher and to demonstrate its indebtedness to Glarean’s ostensible and insufficiently understood opprobrium of Josquin’s love of musical ostentation, transgression, and novelty. I propose a more nuanced reading of portions of Glarean’s original Latin text and its translation into English and draw attention to specific historical interventions into the motet’s reception history which, along with the odd genius-inflected allusion to Josquin’s manhood, seem tacitly to encode both an awareness of and resistance to its potentially homoerotic significance. These discursive strategies of aesthetic decontamination, I suggest, have fueled the historiographical process by which the rhetorical excess and extravagance once deemed paradigmatic of Josquin’s musical style, and of this motet in particular, transmogrifies over time into the disqualifying rhetoric of aesthetic devaluation and canonic disattribution. � � HIRSCHMANN, Wolfgang (Martin-Luther-Universität Halle-Wittenberg) „Munus compilationis“. Die Lehre von den Melodieintervallen im Heilsbronner Musiktraktat Mittwoch/Wednesday, 8.8., 15.00 Uhr, KuGe, SR 3 Der von zwei Zisterziensermönchen des Klosters Heilsbronn um 1300 verfasste Musiktraktat ist im Zusammenhang mit kompilatorischen Produktionsformen von besonderem Interesse, weil die beiden Verfasser ihren Text selbst als „munus compilationis“ (als „Geschenk eines kompilierten Textes“) bezeichnen und kombinatorischen Verfahren darin eine wichtige Rolle zukommt. Eine genaue Analyse der kompilatorischen Struktur des Textes zeigt, dass nicht nur verschiedene Kompilationsstrategien Verwendung finden, sondern dass die Kompilation auch durchaus verschiedene Funktionen erfüllt. Darüber hinaus begegnen Textelemente, die über die Kompilation hinausweisen und mehr in Richtung der mittelalterlichen Kategorien „auctor“ und „commentator“ weisen. Die Lehre von den Melodieintervallen im Heilsbronner Traktat kann anschauliche Beispiele für die hier skizzierten Eigenarten der Textkonstitution zwischen extrem engschrittiger Kombination von Textbausteinen und kommentarartigem Einschub selbstformulierter Elemente bereitstellen. � � HORN, Wolfgang (Universität Regensburg) Komposition zwischen „dottrina“ und „leggiadria“. Bemerkungen zur Verwendung des Ausdrucks „inventione“ bei Zarlino Mittwoch/Wednesday, 8.8., 9.15 Uhr, MuWi, HS 1 Mit dem Ausdruck „inventione“ bezeichnet Gioseffo Zarlino das kreative Vermögen eines Komponisten wie auch die Produkte dieses Vermögens. Den „gelehrten“ Pol kompositorischer „inventione“ bezeichnet er durch den ausdrücklichen Hinweis auf die - 44 -
MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS Doppelkanons in Anticos Druck Motetti novi e chanzoni franciose a quatro sopra doi (RISM 1520 3 ), den „freien“ Pol durch den allgemeinen Hinweis auf die Fülle von „mille belle, e leggiadri inventioni“ in den Werken Adrian Willaerts. Ausgehend von Anticos Druck soll das Bedeutungsspektrum von Zarlinos Begriff dargestellt und mit Beispielen illustriert werden. � � JENKINS, Chadwick (Columbia University) “Est modus in rebus”: Horace, Aristotle, and the Late-Renaissance Theory of the Modes Samstag/Saturday, 11.8., 11.45 Uhr, KuGe, SR 3 Late-Renaissance music-theoretical treatises are rife with citations from authority ranging from philosophy to history to poetry. Therefore, it is not surprising that Horace should be prominently featured in the writings of two of the most important music theorists of the era, Gioseffo Zarlino and Giovanni Maria Artusi. However, two specific citations from Horace (one from the first Satire and the other from the Ars Poetica), when combined with Aristotelian hylomorphic theory, play a particularly prominent role in Zarlino and Artusi’s understanding of a notoriously fractious music-theoretical concept: the modes. The musical modes, for these writers, involve limits beyond which a composer must not go. This Horatian insight regarding the proper limits of any given entity is conjoined with Aristotelian hylomorphism in that the modes are also regarded as substantial forms. According to Aristotle, the substantial form defines what a thing is, its quiddity. Although a range of accidental forms or particular individual entities may exist, they must all be subsumed beneath a given substantial form. Thus this concept also serves as a definitional limit. An understanding of the combination of these Horatian and Aristotelian concerns clarifies what these theorists mean by defining mode “as form“. The warning that opens Horace’s Ars Poetica (that combining things improperly gives rise to the monstrous) thus informs Artusi’s critical concern for modal unity. To compose a work that mixes substantial forms is to give birth to a deviant, formless entity that cannot function properly as music. This is one of Artusi’s primary reasons for rejecting Monteverdi’s music. This investigation of the use of Horace’s poetry tempered by Aristotelian metaphysics clarifies an important function that ancient Latin poetry played within Late- Renaissance understandings of music. It demonstrates that such poetic citations served as an integral part of the theoretical enterprise. � � - 45 -
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(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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