(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 RYGG, Kristin (Department of Musicology, Hedmark University College) Music as Ritual and Ritual Music Samstag/Saturday, 11.8., 9.15 Uhr, KuGe, SR 1 In my understanding the English court masque of the late Renaissance stands out as a music theatre offering an ultimate realization of esoteric Renaissance ideals, focusing on the interplay of the arts as a path to spiritual development. The masques were evidently suffused by singing, music and dance, but the bulk of the musical sources are lost, and those remaining can only render a fragmented impression of the musical side of these shows. Previous musicological studies have to a large degree focused on various aspects of classification and attribution projects, whereas masque scholarship at large has shown little interest in the music of the masques. The paper I propose is a further development from my book Masqued Mysteries Unmasked (Pendragon 2000). Using intermedial strategies combined with an approach inspired by recent musical hermeneutics I shall argue that the makers of the Jonsonian masque (created by poet laureate Ben Jonson in collaboration with prominent composers, dancing masters and architect Inigo Jones) understood the masque as a ritual where the interplay of music, poetry and dance IS the core of the rite; where this very interplay constitutes the active vehicles of transcendence in the celebration of the rite. Through the interpretation of music from the earlier stage of the Jonsonian masque I intend to demonstrate that the leading creators of the masque were aiming at making music that in particular ways could serve as a vehicle of transcendence in this ritual. I shall conclude my paper with an interpretation of music from one of the last Renaissance masques (text by William D’Avenant and music by William Lawes). Here we can see how the concept of the masque as ritual has been consolidated, and how the concept of music as ritual has developed into a musical style which may be understood as an expression of the concept of ritual music. � � SAUNDERS, Zoe (University of Maryland) The Anonymous Missa Cueur langoreulx and its Model Mittwoch/Wednesday, 8.8., 12.15 Uhr, MuWi, HS 1 Among the 22 anonymous masses contained in the so-called Alamire manuscripts is an unedited canonic, five-voice imitation mass – the Missa Cueur langoreulx – unique to Montserrat 766 (a manuscript thought to have been sent to Charles V in Spain). I identify, for the first time, the model for this mass as a chanson by Josquin des Prez and examine the relationship between the mass and its model from an analytical perspective. In order to determine the composer’s working methods and to place this mass in the context of the 16 th -century polyphonic tradition, I will examine the anonymous composer’s treatment of his borrowed material, the modal, mensural, and thematic structure of the mass in comparison to that of the chanson, and, on a smaller scale, motivic development and internal cadences. An investigation into why the anonymous composer may have chosen this song as a cantus firmus and his treatment of his polyphonic model, the reception of - 66 -
MEDIEVAL & RENAISSANCE MUSIC CONFERENCE <strong>2007</strong> – WIEN, 7.-11. AUGUST ABSTRACTS the chanson, and the early history of the Montserrat manuscript makes it possible to suggest when and where this mass may have been composed. In addition to bringing a previously-unknown mass based on a little-discussed chanson by a major Renaissance composer to our attention, this study will refine our knowledge of the practice of polyphonic borrowing and techniques of canonic writing. � � SCHILTZ, Katelijne (Katholieke Universiteit Leuven) Self-Citation and Self-Promotion: Zarlino and the “Miserere” Tradition Mittwoch/Wednesday, 8.8., 9.45 Uhr, MuWi, HS 1 Gioseffo Zarlino’s motet collection Modulationes sex vocum (Rampazetto, 1566) contains two pieces that share a number of characteristics. Not only do they make use of the same cantus firmus (Ne reminiscaris Domine delicta mea), which is treated canonically, but their texts are also remarkably similar: Miserere mei Deus and Misereris omnium. Moreover, in the latter piece, the words Miserere mei Deus pervade the composition as a soggetto ostinato. Zarlino mentions both motets twice in his Istitutioni harmoniche of 1573 (in the first edition of 1558, only Miserere mei is cited) and links them explicitly in book 3 (discussion of contrapuntal techniques) and book 4 (presentation of the modes). In his studies on Josquin’s Miserere mei Deus, Patrick Macey has investigated the influence of this composition on Willaert, Rore, Vicentino, and others from an analytical and historical point of view (see also his dissertation and the monograph Bonfire Songs: Savonarola’s Musical Legacy, Oxford 1998). Especially their connection with the dukes of Ferrara provides a common context for this cluster of works. Interestingly enough, Zarlino’s pair of six-part motets has not been thoroughly examined as part of this tradition. It is my intention to show that a link with the Este court can indeed be established. My evidence is based on archival, musical, and theoretical sources. � � SCHMID, Bernhold (Musikhistorische Kommission, Bayer. Akademie der Wissenschaften) Beati omnes, qui timent Dominum à 5. Oder: Von den Schwierigkeiten, Orlando di Lassos Motetten zu edieren Donnerstag/Thursday, 9.8., 11.45 Uhr, MuWi, HS 1 Kein Komponist des 16. Jahrhunderts war zu Lebzeiten weiter verbreitet als Orlando di Lasso. Aus den Jahren 1555 bis 1687 sind über 470 Einzel- und Sammeldrucke mit seinen ca. 1200 gedruckten Werken erhalten (wohingegen nur ca. 160 Sätze zeitgenössisch ausschließlich handschriftlich überliefert sind). Einzelne Chansons brachten es auf 30 und mehr Drucke, und insbesondere die Motetten aus dem „Nürnberger Motettenbuch“ von 1562 sind öfter als 20 Mal gedruckt worden. - 67 -
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(Stand: 25. Juli 2007) ANDERSON, Michael Alan ... - Universität Wien

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