The Science and Art of Renaissance Music

The Science and Art of Renaissance Music

For poets and dramatists of the Sturm und Drang period the Renaissance was a violent and godless period , with conspiracy ... were prime subject material ; in the case of Cellini the artist himself was a violent and irreligious type .

Author: James Haar

Publisher: Princeton University Press

ISBN: 9781400864713

Category: Music

Page: 408

View: 887

As a distinguished scholar of Renaissance music, James Haar has had an abiding influence on how musicology is undertaken, owing in great measure to a substantial body of articles published over the past three decades. Collected here for the first time are representative pieces from those years, covering diverse themes of continuing interest to him and his readers: music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century's views of early music. In this collection, the same subject is seen from several angles, and thus gives a rich context for further exploration. Haar was one of the first to recognize the value of cultural study. His work also reminds us that the close study of the music itself is equally important. The articles contained in this book show the author's conviction that a good way to address large problems is to begin by focusing on small ones. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Categories: Music

Music History During the Renaissance Period 1520 1550

Music History During the Renaissance Period  1520 1550

False relations and Chromaticism in Sixteenth - Century Music . " In The Science and Art of Renaissance Music , p . 93-121 . Edited by Paul Cor- neilson . Princeton , New Jersey : Princeton University Press , 1998 .

Author: Blanche Gangwere

Publisher: Greenwood Publishing Group

ISBN: 0313292485

Category: Music

Page: 556

View: 311

Lists concise information on musical theory, notation, style, performance practices, and composition from the middle of the Renaissance Period.
Categories: Music

Secular Renaissance Music

Secular Renaissance Music

I want now to turn from these statistics to a brief review of Castiglione's recommendations about music making in light of these trends. ... 165–189; reprinted in Haar, The Science and Art of Renaissance Music, ed.

Author: Sean Gallagher

Publisher: Routledge

ISBN: 9781351549370

Category: Music

Page: 688

View: 907

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.
Categories: Music

Music and Riddle Culture in the Renaissance

Music and Riddle Culture in the Renaissance

Haar, J., 'Josquin as Interpreted by a Mid-Sixteenth-Century German Musician' in his The Science and Art of Renaissance Music, 176–97. 'Lessons in Theory from a Sixteenth-Century Composer', in R. Charteris (ed.) ...

Author: Katelijne Schiltz

Publisher: Cambridge University Press

ISBN: 9781316299890

Category: Music

Page:

View: 344

Throughout the Renaissance, composers often expressed themselves in a language of riddles and puzzles, which they embedded within the music and lyrics of their compositions. This is the first book on the theory, practice and cultural context of musical riddles during the period. Katelijne Schiltz focuses on the compositional, notational, practical, social and theoretical aspects of musical riddle culture c.1450–1620, from the works of Antoine Busnoys, Jacob Obrecht and Josquin des Prez to Lodovico Zacconi's manuscript collection of Canoni musicali. Schiltz reveals how the riddle both invites and resists interpretation, the ways in which riddles imply a process of transformation and the consequences of these aspects for the riddle's conception, performance and reception. Lavishly illustrated and including a comprehensive catalogue by Bonnie J. Blackburn of enigmatic inscriptions, this book will be of interest to scholars of music, literature, art history, theology and the history of ideas.
Categories: Music

Ottaviano Petrucci

Ottaviano Petrucci

“The courtier as musician: Castiglione's view of the science and art of music”. In Castiglione: the ideal and the real in Renaissance culture, ed. Robert W. Hanning and David Rosand: 165–189. New Haven: Yale University Press, 1983; ...

Author: Stanley Boorman

Publisher: Oxford University Press on Demand

ISBN: 9780195142075

Category: Music

Page: 1294

View: 606

This bibliographic study of the output of the Petrucci presses includes a study of technique and house-style, and provides a catalogue of editions and copies.
Categories: Music

Adrian Willaert and the Theory of Interval Affect

Adrian Willaert and the Theory of Interval Affect

“False Relations and Chromaticism in SixteenthCentury Music,” Journal of the American Musicological Society 30/3 (1977): 391–418; reprinted in Haar, The Science and Art of Renaissance Music. ——, “Notes on the Dialogo della Musica of ...

Author: Timothy R. McKinney

Publisher: Routledge

ISBN: 9781317185314

Category: Music

Page: 336

View: 999

In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is found, for the first time, a systematic means of explaining music's expressive power based upon the specific melodic and harmonic intervals from which it is constructed. This "theory of interval affect" originates not with these theorists, however, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extramusical ideas. For Willaert, the appellations "major" and "minor" no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a shared sounding property of "majorness" or "minorness" that could be manipulated for expressive purposes. This book engages with the madrigals of Willaert's landmark Musica nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. The book also traces the origins of one of the most widespread musical associations in Western culture: the notion that major intervals, chords and scales are suitable for the expression of happy affections, and minor for sad ones. McKinney concludes by discussing the influence of Willaert's theory on the madrigals of composers such as Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the theory of interval affect from the Renaissance view based upon individual intervals measured from the bass, to the Baroque view based upon invertible triadic entities.
Categories: Music

Music and Culture in Late Renaissance Italy

Music and Culture in Late Renaissance Italy

5 See J. Haar , ' The Courtier as Musician : Castiglione's View of the Science and Art of Music ' , in R.W. Hanning and D. Rosand ( eds . ) , Castiglione : The Ideal and the Real in Renaissance Culture ( New Haven and London , 1983 ) ...

Author: Iain Fenlon

Publisher: Oxford University Press

ISBN: 0198164440

Category: History

Page: 300

View: 594

Explores the role of music in the cultural, religious, and political upheavals of late Renaissance Italy, revealing how musical activity of all kinds was instrumentalized by those in power. Italian culture did not lose its vigour after 1530, but underwent a transformation.
Categories: History

Composing Community in Late Medieval Music

Composing Community in Late Medieval Music

From Humanism to the Humanities: Education and the Liberal Arts in Fifteenth- and Sixteenth-Century Europe. ... Renaissance Quarterly 57 (2004): 1–42. ... In Paul Corneilson, ed., The Science and Art of Renaissance Music, 149–75.

Author: Jane D. Hatter

Publisher: Cambridge University Press

ISBN: 9781108474917

Category: Art

Page: 301

View: 234

An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.
Categories: Art

The Cambridge History of Fifteenth Century Music

The Cambridge History of Fifteenth Century Music

Remigio Sabbadini, 3 vols., Venice, 1915–19 Haar, James, “The Courtier as Musician: Castiglione's View of the Science and Art of Music,” in Haar, The Science and Art of Renaissance Music, ed. Paul Corneilson, Princeton, 1998, ...

Author: Anna Maria Busse Berger

Publisher: Cambridge University Press

ISBN: 9781316298299

Category: Music

Page:

View: 532

Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.
Categories: Music

Singing Games in Early Modern Italy

Singing Games in Early Modern Italy

“Music of the Renaissance as Viewed by the Romantics.” In The Science and Art of Renaissance Music, edited by Paul Corneilson. Princeton, NJ: Princeton University Press, 1998. ——— . “Notes on the Dialogo della Musica of Antonfrancesco ...

Author: Paul Schleuse

Publisher: Indiana University Press

ISBN: 9780253015044

Category: Music

Page: 552

View: 111

In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
Categories: Music