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Two music theory manuscripts reunited. Book illumination in the circle of Matteo Giovannetti
No full textIl contributo analizza due codici di teoria musicale miniati, riconosciuti per la prima volta come parti di una stessa opera in base all'analisi dei caratteri stilistici, codicologici e testuali. Le miniature dei due manoscritti vengono attribuite alla stessa bottega, guidata da un miniatore formato nell'ambito del pittore Matteo Giovannetti, attivo ad Avignone per il papa alla metà del Trecento. L'esame degli aspetti materiali e storico-artistici da parte di Francesca Manzari e quello dei testi di teoria musicale da parte di Jason Stoessel permettono di collocare i due codici nel contesto avignonese, formulando alcune ipotesi su funzione, uso e possibili destinatari.The article discusses two illuminated manuscripts previously not recognized as volumes of the same project, placing their production in the context of the Italian artist Matteo Giovannetti, working in Avignon in the mid-fourteenth century. The contents, containing music treatises, iconographic programme and stylistic ties to the paintings by Giovannetti are examined and the possible patronage is discussed
Review of Margaret Bent 'Magister Jacobus de Ispania, Author of the Speculum Musicae' Royal Musical Association Monographs 28, Farnham: Ashgate, 2015, xvi, 214 pp. ISBN 978-1-4724-6094 3 (hardback)
No full textMany readers would know the author of the voluminous music theory treatise 'Speculum musicae' as Jacobus Leodiensis or Jacques de Liège, although Johannes de Muris was thought for a long time to be its author. That is until Willibald Gurlitt recognized in the mid-1920s that the first letters of each book formed the author's first name: J-A-C-O-B-U-S. Yet nowhere does the treatise itself state that its author was from Liège. The grandiose sounding 'Leodiensis' was an invention of Jacobus's twentieth-century editor, Roger Bragard. The modern reputation of this magnum opus rests largely upon its seventh and last book in which the author takes to task the young ars nova Turks, arguing, sometimes vituperatively and venomously, that the dead composers of the ars antiqua had done things just as well without the new-fangled notes and other musical concepts, to which he mostly objects philosophically or theologically. Some modern authors left their readers with a fictitious image of an embittered old monk at the end of his life sitting alone in his cell in Liège (now in modern-day Belgium), penning his memories of a past musical glory while the world moved on around him. Richard Crocker, Oliver Ellsworth and, most recently, Karen Desmond sought instead to identify the author as Jacobus de Montibus, nonetheless still a canon in Liège. With the publication of Margaret Bent's book, this image, identification and indeed localization can no longer be assumed for the author of the 'Speculum'
Symbolic Innovation: The Notation of Jacob de Senleches
No full text"Sic nunc successive venientes, habentes et intelIegentes que primi magistri relinquerunt maiores subtilitates per studium sunt confecti ut quod per antecessores imperfectum relictum fuit per successores reformetur." With this statement, the late fourteenth century anonymous author of the 'Tractatus Figurarum' concludes his prologue. The subsequent chapters in this treatise detail a rich vocabulary of novel signs used to achieve a new, subtle rhythmic freedom. From the grammatical tense of the previous passage, it is clear that this treatise is concerned with innovations that have already occurred. While very few of the actual signs in the treatise are found in the surviving sources containing this repertoire, the concerns expressed by the author of the 'Tractatus' clearly reflect the notational situation apparent in surviving works in the 'ars subtilior' style. Prior to the twentieth century, no greater diversity of notational signs ('figure') are found in a mensural context than in the surviving versions of works by Jacob de Senleches, his contemporaries and his immediate successors. The use of special figures in his 'La harpe de melodie' and 'En attendant esperance' is only exceeded by Rodericus' 'Angelorum psalat' and matched by the works of composers such as Guido (Ch 27, 28)
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Pervasive Imitation in Senfl’s <i>Ave Maria … virgo serena</i>:Borrowing from Josquin in sixteenth-century Augsburg
No full textVariations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Review of 'Music and Riddle Culture in the Renaissance'. By Katelijne Schiltz: pp. xxx + 513. Cambridge University Press, Cambridge and New York, 2015. 84.99 ($135). ISBN 978-1-107-44284-9.
No full textThis book is about musical riddles, the verbal and visual brainteasers scattered through Renaissance musical sources and collected by such music theorists as Pietro Cerone, Heinrich Glarean, and Ludovico Zacconi, that need to be solved to arrive at an adequate performance (or edition) of a musical composition. Spread over four long chapters, bookended by an introduction and brief conclusion, Schiltz's second monograph moves from a historical and critical overview of European riddle culture (ch. 1) to an examination of different types of musical riddles (ch. 2), and the reception of musical riddles by music theorists from the fifteenth to early seventeenth centuries (ch. 3), concluding with case studies of musical riddles that rely heavily upon visual images (ch. 4). While this reader sometimes felt that the author circles around a small number of representative compositions such as Obrecht's 'Missa Fortuna desperata', an index of over two hundred incipits towards the back of this book indicates otherwise. The first of two appendices usefully provides the unaccustomed or rusty reader with an overview of the principles of mensural notation. Bonnie J. Blackburn's indexed catalogue of enigmatic canonic inscriptions appears in the second appendix (accounting for a fifth of the book's pages), not merely to complete this book's near comprehensive treatment of this topic, but as a nod to the effective collaboration between Schiltz and Blackburn that has produced other gems including the proceedings from the canon and canonic techniques conference at Leuven (Peeters, 2007)
The Making of Louise Hanson-Dyer Manuscript 244
No full textThe Australian philanthropist Louise Hanson-Dyer (1884-1962) is known as the founder, in 1932, of Editions de l'Oiseau-Lyre, the press responsible for some of the most iconic editions of early music, including the CEuvres completes of Frarn;,:ois Couperin, the Polyphonic Music of the Fourteenth Century series and the multi-volume Magnus Liber Organi. 1 Possibly less well known is that during the years leading up to the establishment of L'Oiseau-Lyre, Hanson-Oyer assembled a library of 250 rare books and manuscripts that now form part of Special Collections, Rare Music, in the University of Melbourne Library, Australia. For Medieval, Renaissance and even early Baroque music scholarship, MS Louise Hanson-Oyer 244 (hereafter LHD 244) stands out for several reasons. Above all, it contains the only known copy of a treatise ascribed to Nicolaus de Aversa, a late fourteenth-century music theorist and composer previously known only from references to his notational innovations by another author from around 1400.2 It also preserves portions of known treatises by Nicolaus de Capua, Nicolaus Burtius, and Marchetta da Padova, as well as numerous unique anonymous writings on counterpoint and keyboard harmonization
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