Cambridge University Press по журналам "Early Music History"
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(Cambridge University Press. Cambridge, UK, 1981-10-01)Codex latinus monacensis 14274 of the Bayerische Staatsbibliothek, Munich, the so-called St Emmeram codex, has been well known to musicologists since its discovery and description by Karl Dèzes in the late 1920s. Since ...
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(Cambridge University Press. Cambridge, UK, 1985-10-01)In 1971, at the International Josquin Festival-Conference, I mentioned for the first time a group of newly discovered documents on the early career of Adrian Willaert in Italy, drawn mainly from the account books of his ...
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(Cambridge University Press. Cambridge, UK, 2011-10-01)As the only late fifteenth-century picture book devoted to a ‘joyous entry’, inv. 78.D.5 of the Staatliche Museen zu Berlin – Kupferstichkabinett is a source of singular importance, conveying a total of twenty-seven tableaux ...
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(Cambridge University Press. Cambridge, UK, 1986-10-01)The legacy of Pierre Attaingnant, Royal Printer of Music, has done much to clarify our knowledge of the French polyphonic chanson during the first half of the sixteenth century. The great Parisian printer's invention and ...
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(Cambridge University Press. Cambridge, UK, 1981-10-01)On the day before Christmas in 1520, the Venetian organist Giovanni da Legge wrote to his friend and mentor, the theorist Giovanni del Lago: I should like you to send me here in Rome ‘quella bella cosa’ by Tinctoris that ...
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(Cambridge University Press. Cambridge, UK, 1997-10-01)Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: ...
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(Cambridge University Press. Cambridge, UK, 2000-10-01)Historians of plainchant continue to puzzle over the existence of two monophonic repertories, each with claims to Roman origin.The ‘Gregorian’ chant (GREG) is spread throughout Europe: there are thousands of manuscripts ...
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(Cambridge University Press. Cambridge, UK, 1983-10-01)Another fragment can now be added to the list of manuscripts of fourteenth-century secular Italian polyphony. The new source (henceforth called Fn F.5.5) comprises two leaves, and at present serves as guard-sheets at the ...
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(Cambridge University Press. Cambridge, UK, 1981-10-01)The medieval sequence was one of the most distinguished artistic achievements of the Carolingian age. In creating the genre, Frankish poet–musicians moulded text and music into a new and extraordinary synthesis, and created ...
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(Cambridge University Press. Cambridge, UK, 2007-10-01)In a rich and learned article, Lawrence Gushee explored the tabula monochordi of Magister Nicolaus de Luduno. The tabula, which was copied into a music theory manuscript of c. 1400 of southern Italian provenance (Rome/St. ...
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(Cambridge University Press. Cambridge, UK, 1997-10-01)Most mid-seventeenth-century English songbooks are, as one might perhaps expect, concerned almost entirely with native repertoire. Though there was, it seems, a certain amount of Italian (and some French) solo vocal music ...
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(Cambridge University Press. Cambridge, UK, 2010-10-01)In his chorale partita Auf meinen lieben Gott (BuxWV 179) Dieterich Buxtehude combines the (sacred) genre of the chorale with the (secular) genre of a dance suite by modelling the variations of the partita on popular dances. ...
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(Cambridge University Press. Cambridge, UK, 1987-10-01)Despite the diligent efforts of archivists, there are a number of fifteenth-century composers for whom are lacking most or all of their biographical details. Not all of these are minor figures. Caron, Hayne van Ghizeghem ...
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(Cambridge University Press. Cambridge, UK, 1999-10-01)In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, ...
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(Cambridge University Press. Cambridge, UK, 1984-10-01)The earliest operas are few, and their history is a history of particulars: of the interests of individual Renaissance humanists; of the ways in which certain musicians sang; of the development of Italian poetry for music; ...
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(Cambridge University Press. Cambridge, UK, 1994-10-01)In calling for a new history of French music and musical life of the second half of the sixteenth century, Howard Mayer Brown's paper has presented scholars with a number of formidable challenges. It admonishes us to ...
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(Cambridge University Press. Cambridge, UK, 1995-10-01)Professional musicians first appeared in medieval Europe during the tenth century. These jongleurs, or minstrels, earned a precarious living by travelling alone or in small groups from village to village and castle to ...
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(Cambridge University Press. Cambridge, UK, 1988-10-01)To students of sixteenth-century music the Florentine man of letters Cosimo Bartoli (1503–72) is known chiefly for two statements made in the third dialogue of his Ragionamenti Accademici. One is a comparison of sculptors ...
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(Cambridge University Press. Cambridge, UK, 1996-10-01)In September of 1536, the papal singer and composer Costanzo Festa wrote a letter to his Florentine patron Filippo Strozzi. Festa, having heard about a music printer in Venice, hoped to contact him there through one of ...
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(Cambridge University Press. Cambridge, UK, 1991-10-01)Kevin Brownlee's essay is a welcome addition to current studies that apply literary, textual and historical insights to fourteenth-century motets. The opportunity to comment on his paper before publication stimulated these ...
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