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

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MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS PESCE, Dolores (Department of Music, Washington University St. Louis) Thirteenth-Century Compositional Aesthetics: The „Portare“ Motets Donnerstag/Thursday, 9.8., 11.45 Uhr, KuGe, SR 3 With few exceptions (Hofmann 1972, Baltzer 1997, Pacha 2002), scholars have yet to examine entire complexes of 13 th -century motets based on the same chant segment. In a 1997 publication I offered a brief overview of the Portare complex of 16 motets; this paper takes an in-depth look at the same complex in order to shed light on the various ways motet creators manipulated portare – textually, rhythmically, and tonally. By examining this significantly large complex as a whole, I offer a more nuanced understanding of 13 th - century compositional aesthetics than isolated motet analyses allow. The tenor segment portare fits the melody of the Alleluia Dulce lignum, used in Paris and elsewhere for two celebrations of the Cross: its Invention on 3 May and its Exaltation on 14 September. The same melody appears in Alleluia Dulcis virgo for the Octave of the Assumption. These two manifestations indicate that the melody had both Christological and Marian associations, thus offering motet creators a rich array of conceptual resonances to play upon when they wrote their upper-voice texts. This paper summarizes the various approaches taken, presenting case studies of each. A particularly interesting paradigm involves the mal mariée, the unhappy wife suffering from an unsatisfying marriage, in counterpoint with the Marian tenor. The other aspect of the chant that appears to have attracted motet creators is its melodic contour, which allows for various tonal foci. I provide the first detailed look at the rhythmic organization of the 16 portare motets and how those rhythmic schema activate different sorts of tonal schema. In some cases, subtle changes to the chant and/or to a recurring rhythmic pattern superimposed upon it bring with them quite striking aural results. Again, case studies will be presented. � � PETERSEN, Nils Holger (University of Copenhagen) Ritual and Performativity in the Medieval “adoratio crucis” Mittwoch/Wednesday, 8.8., 9.45 Uhr, KuGE, SR 3 In this paper I propose to discuss the medieval Good Friday ceremony of the veneration of the cross, the adoratio crucis including the so-called improperia, in the light of modern theories of performance and ritual. The adoratio crucis ceremony has previously often been discussed in the context of the idea of ‘dramatic liturgy’, a notion which in the last decades has no longer been generally accepted in modern scholarship. Among other problems, such a notion has often led to considering the ceremonies with which one was concerned as units in their own right – cut off from their context – without questioning such an intervention. This problem is also met in connection with the notion of ‘liturgical drama’. Whereas many of the ceremonies traditionally subsumed under the liturgical drama heading may be described as straight-forward representations of biblical (or saints’) narratives when separated from the larger liturgical context, the representation which – undoubtedly – takes place in the adoratio crucis is rather ambiguous: the ceremony of the adoratio crucis neither represents the Crucifixion nor the Resurrection of Christ directly but is based on - 60 -
MEDIEVAL & RENAISSANCE MUSIC CONFERENCE 2007 – WIEN, 7.-11. AUGUST ABSTRACTS both mythic events in a complex yet explicit way. Exemplified by two texts, the well-known description of the ceremony – with no information about the music – in the tenth-century Regularis Concordia and a manuscript version with musical notation from the Cathedral of Soissons (c. 1200) and drawing on theoretical ideas by Erika Fischer-Lichte on the concept of performativity as well as on appropriations of modern ritual theory, I shall give a reading of the veneration of the cross which includes the relationship between words, music, and ‘liturgical staging’ and which takes serious the overall context of the ceremony within the larger structure of the Good Friday liturgy. � � PFISTERER, Andreas (Institut für Musikwissenschaft, Universität Regensburg) Lassos Beitrag zur Akzidentienfrage Donnerstag/Thursday, 9.8., 11.15 Uhr, MuWi, HS 1 In der breiten Diskussion um implizite Akzidentien in der Musik vor 1600 spielt Orlando di Lasso meist keine Rolle. Seine Musik ist in dieser Hinsicht weitgehend unproblematisch. Dennoch besteht für manche Detailfragen kein Konsens unter den zahlreichen Lasso-Editoren. Da Lassos Musik aufgrund verschiedener Umstände eine gute methodische Grundlage für Rückschlüsse auf nicht notierte, aber vom Komponisten vorausgesetzte Alterationen gibt, sollen die methodischen Möglichkeiten hier erörtert werden. Dabei taucht neben vorhersehbaren Ergebnissen wie der Nichtalteration bei abspringender Diskantklausel auch eine unerwartete Eigenart auf: Lasso scheint bei mehr als zweistimmigen Kadenzen mit Tenorklausel in der Unterstimme in der Regel keine Alteration vorauszusetzen – im Gegensatz zu Kadenzen mit Bassklausel. Eine solche Unterscheidung zwischen Kadenzen unterschiedlicher „harmonischer“ Auffüllung ist bislang nur in der späteren (von Lasso geprägten) deutschen Tradition beobachtet worden (Burmeister, Dulichius). Die Rückdatierung einer solchen Alterationspraxis bis in Lassos frühe Publikationen könnte ein Licht auf grundsätzliche Fragen der Alteration im 16. Jahrhundert werfen. Da seit einiger Zeit über regionale Differenzierungen in der Alterationspraxis nachgedacht wird (R. Toft, V. Arlettaz), wäre die Frage, wie sich der musikalische „Weltbürger“ Lasso zu eventuellen niederländischen und deutschen Sondertraditionen verhält, bedenkenswert. � � PIERAGOSTINI, Renata (University of Cambridge, King’s College Cambridge) ‘Instrument or voice?’ Coluccio Salutati and virtuoso singing in Trecento Florence Mittwoch/Wednesday, 8.8., 9.15 Uhr, KuGe, SR 1 The attitude of early Humanists to music, especially to contemporary practices, can often only be assessed on the basis of remarks scattered throughout very different kinds of texts rather than systematic exposition. This is the case with Coluccio Salutati (1331–1406), one - 61 -
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(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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