John Griffiths | University of Melbourne (original) (raw)
Books by John Griffiths
This work traces the evolution of the Spanish fantasia for vihuela de mano from its improvisatory... more This work traces the evolution of the Spanish fantasia for vihuela de mano from its improvisatory origins in the early sixteenth century to a genre conforming to the norms of contemporary vocal polyphony. Analyses of works by Milán, Narváez, Mudarra, Valderrábano, Pisador, Fuenllana, and Daza demonstrate this evolution with particular reference to melodic and contrapuntal design and formal architecture. The author applies a graphic-statistical method that measures the conformity of each fantasia to abstract concepts of vocal counterpoint, and that assesses the level of idiomatic thinking in each work. This methodology, developed and applied to a specific repertoire of 219 fantasias written for the vihuela may have broader applications for stylistic questions about abstract instrumental music of the sixteenth century. While it is clear that vocal repertoire was the focal point for musical development throughout the Renaissance, the composers of instrumental music also drew on a long ...
Musiques-Images-Instruments: Mélanges en l’honneur de Florence Gétreau, 2019
Radiating out from the discovery by Florence Gétreau and others that early vihuela (and lute) bri... more Radiating out from the discovery by Florence Gétreau and others that early vihuela (and lute) bridges were made with slots through which to thread the strings, this paper examines some of the other changes in knowledge about early 16th-century vihuelas and the implications for the construction of modern reproductions, as well as the acoustic and musical implications.
Tañer Vihuela según Juan Bermudo, 2003
An anthology of vihuela music set out following the instructions given by Juan Bermudo in 1555 of... more An anthology of vihuela music set out following the instructions given by Juan Bermudo in 1555 of how to proceed in learning to play the instrument. It is an attempt to establish a didactic program based on a renaissance pedagogical method
... págs. 253-284. Sonido en el silencio: monjas y músicas en la España de 1550 a 1650. Soterraña... more ... págs. 253-284. Sonido en el silencio: monjas y músicas en la España de 1550 a 1650. SoterrañaAguirre Rincón. págs. 285-318. Para tecla y vihuela. Órganos en la España de Felipe II: elementos de procedencia foránea en la organería autóctona. Andrés Cea Galán. págs. ...
... Already in 1569, Luigi Contarino included Fabrizio's name among the renowned... more ... Already in 1569, Luigi Contarino included Fabrizio's name among the renowned composers and instrumentalists active in the city.23 In addition to being a virtuoso lutenist and singer, like his father, Fabrizio was known as a com-poser of vocal music and he was closely ...
Mateo Flecha (1481-1533?): Villancicos , Dec 2013
New modern edition of the surviving villancicos of Mateo Flecha, with introduction, text editions... more New modern edition of the surviving villancicos of Mateo Flecha, with introduction, text editions, transcriptions of the various surviving versions from polyphonic sources and instrumental tablatures.
Los seys libros del Delphin, 2021
Modern urtext edition of Luis de Narváez's famous vihuela book "Los seys libros del Delphin" publ... more Modern urtext edition of Luis de Narváez's famous vihuela book "Los seys libros del Delphin" published in Valladolid in 1538
Teaching and Studying the Lute, 2021
The curiosity to hear music of ages past played on original instruments or historical copies has ... more The curiosity to hear music of ages past played on original instruments or historical copies has become one of the most significant recreative movements in recent cultural history.Thanks to the initial experimental work of pioneers over a century ago, contemporary music culture now values listening to music of past ages with the ears of those who first heard it. We understand it as similar to the sensory vitality that is restored into old paintings when centuries of varnish and tarnish are removed. Early experimentation was transformed into expertise, and historical performance practice has grown to become a multi-million dollar industry.
The lute is a principal player on this revivalist stage and is now taught in many conservatories and music academies throughout the world. This book, based on a conference held in Bremen in September 2019, explores themes that pertain to teaching an ancient instrument in a modern institutional setting and the pedagogical challenges for both teaching and learning. It encompasses a discussion of aspects of modern teaching practice (Pascale Boquet, Jakob Lindberg, John Griffiths), the inner workings of historical technique (Paul O'Dette, Nigel North), improvisation and continuo playing (Joachim Held, Xavier Díaz Latorre, Bor Zuljan), using the right instrument (Michael Lowe), and the continuing exploration of newly rediscovered repertoire (Franco Pavan).
Propuestas pedagógicas e interdisciplinares sobre el análisis y la teoría musical, 2024
El presente libro es el fruto de numerosas investigaciones sobre las disciplinas del análisis y l... more El presente libro es el fruto de numerosas investigaciones sobre las disciplinas del análisis y la teoría musical, areas de conocimiento que se complementan y se retroalimentan, ya que el análisis musicale se basa en la teoría musical para fundamentar sus criterios y métodos, y la teoría musical se nutre del análisis musical para ampliar y revisar sus conceptos y categorías. Las dos disciplinas constituyen herramientas esenciales tanto en el ámbito académico como en el investigador, para el desarrollo de la educación musical, la creación artística, la psicología de la música, la interpretación y otras áreas afines.
Este libro no solo ofrece diferentes propuestas y perspectivas analíticas desde el punto de vista didáctico para todos los lectores, sino que también representa una llamada a la acción para impulsar las investigaciones sobre análisis y teoría musical desde diferentes metodologías innovadoras. Estas servirán para abarcar un prisma cada vez más amplio de planteamientos distintos acerca del objeto musical y que responda cada vez más a preguntas más amplias, críticas y ambiciosas de los investigadores sobre cualquier tipo de objeto de estudio relacionado con la música.
Eva Esteve, John Griffiths y Francisco Rodilla (eds.). Rostocker Hochschulschriften zu Musik und Theater, Volume 2. Leiden: Brill, ISBN 978-3-7705-6913-7 (hardback); ISBN 978-3-8467-6913-3 (e-book), 2025
By combining an evocative potential with practical application, this book presents studies that c... more By combining an evocative potential with practical application, this book presents studies that contribute to two of the most innovative approaches to early music in recent academic trends, namely, the exploration of the physical environment in which recovered repertoires were once performed, and how they may have been perceived by those who heard them. Current interest in the spatial context is not limited to identifying the specific places where musical performance took place, but extends to their topography, their acoustic conditions, and the sensory experience of the spectators for whom they were designed. The development and interconnection of these spatial, acoustic and sensory aspects is the main focus of the present volume. The rapid evolution and expansion of digital technologies in this field has helped to promote new explorations which, with increasing frequency, are able to become a modern-day auditory experience accessible to the general public.
Eva Esteve, John Griffiths y Francisco Rodilla (eds.). Kassel: Reichenberger, Iberian Early Music Studies 6, 2023
This book highlights the cultural importance of music on the Iberian Peninsula from the Middle Ag... more This book highlights the cultural importance of music on the Iberian Peninsula from the Middle Ages to the mid-seventeenth century. Musical events of various kinds are presented as the product of actions generated from within a dynamic and heterogeneous society. The kaleidoscopic vision of the volume aims to increase understanding of the ways that matters of power, gender, dissemination, reception, and musical composition operate in direct correspondence with the attitudes of the society that produced them.
Cultura y música en la Península Ibérica hasta 1650, Kassel: Reichenberger, Iberian Early Music Studies 6. , 2023, 2023
Este libro destaca la importancia cultural de la música en la Península Ibérica desde el medievo ... more Este libro destaca la importancia cultural de la música en la Península Ibérica desde el medievo hasta la primera mitad del siglo XVII. El hecho musical en sus diversas vertientes se presenta como producto de las múltiples acciones generadas por una sociedad dinámica y heterogénea. La visión caleidoscópica del volumen ayuda a comprender mejor las relaciones de poder, género, difusión, recepción y composición musical en correspondencia directa con el pensamiento y la sociedad que las produjo.
Book Chapters by John Griffiths
Imagination, Books and Community in Medieval Europe, 2009
This article argues an alternate view of the Cantigas de Santa Maria to the contemporary mainstre... more This article argues an alternate view of the Cantigas de Santa Maria to the contemporary mainstream that views it as a collection that reflects thirteenth-century musical practice. In contrast, the collection may be viewed as an imaginary repertory designed within the encyclopaedic enterprise of Alfonso X, as well as an exercise to help him achieve his own eternal salvation. In this sense, the Cantigas may be seen as a composite encyclopaedia of miracle stories, musical instruments, and popular song tunes. As well as the internal evidence within the surviving manuscripts, this view is also supported by the absence of any known tradition of the performance of this repertory prior to the twentieth century. The only primary evidence is of the performance of this repertory is Alfonso's own desire that the Cantigas be sung on feasts of the Virgin in the church where his body would eventually be interred.
Music Education in the Middle Ages and the Renaissance, 2010
This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-... more This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-century Spain based on the instructions given by Juan Bermudo in his Declaración de Instrumentos Musicales of 1555. It progresses through learning about two-part counterpoint, harmonic progressions, imitative counterpoint through intabulation prior to attempting to compose one's own fantasias. Importantly, teaching instrumental technique is completely absent from the process.
Estudios. Tomás Luis de Victoria. Studies, 2013
This study offers a theory of musical structure in renaissance music, both instrumental works as ... more This study offers a theory of musical structure in renaissance music, both instrumental works as well as vocal polyphony, based on the idea that composers crafted their music as a confluence of architecture and rhetoric, two of the principal conceptual parameters of their time.
Allegro cum laude: Estudios musicológicos en homenaje a Emilio Casares, 2014
El enfoque principal de este estudio es resaltar su importancia histórica y su influencia en la t... more El enfoque principal de este estudio es resaltar su importancia histórica y su influencia en la transición musical hacia la canción solista y la monodía durante el siglo XVI. Destaca cómo la canción acompañada, interpretada a voz sola con acompañamiento instrumental, ha sido subestimada en las historias generales de la música, a pesar de su papel crucial en el cambio del Renacimiento al Barroco musical. Se discute la necesidad de reevaluar su rol en la historiografía musical, ya que su práctica oral y la falta de documentación escrita han llevado a su menosprecio. Además, el documento sugiere que una perspectiva sociológica podría integrar mejor la canción acompañada en el contexto de la vida cortesana y urbana de la época.
Passaggio in Italia: Music of the Grand Tour in 17th-century Italy, 2015
Few travellers to Italy early in the seventeenth-century noted instrumental and vocal performance... more Few travellers to Italy early in the seventeenth-century noted instrumental and vocal performances as novel. From this we can surmise that initially the new Florentine manner of solo singing was encountered somewhat rarely and that Italian solo singing more generally did not strike visitors as so entirely foreign. Extemporising instrumentalist-singers, for instance, would have continued their ways of making musicin Italy and everywhere else. Since the fifteenth century, singer-lutenists especially had always performed both in town, and at court, participating in both unwritten popular musical traditions and literate courtly music-making. The migration of such musicians between Naples and Spain brings to light some earlier traditions of recitation and chamber performance for lute that have been lost sight of in Italy itself and some that may have returned to Italy from Iberia. Whether listening to improvised arie or learned solo perfrmances of madrigals, early seventeenth-century listeners would have assimilated their experience of the new monody to these older practices.
Teaching and Studying the Lute, 2021
This study provides an introduction to the revival of interest in the lute and the development of... more This study provides an introduction to the revival of interest in the lute and the development of lute pedagogy in the 20th century largely following the principles of instrumental pedagogy established during the 19th century. This pedagogy is contrasted with what is known of the way the lute and related instruments were taught during the renaissance and poses questions about how historical pedagogy may be made relevant to contemporary teaching of early instruments and repertoires.
Cultura y música en la península ibérica hasta c.1650, 2023
This study seeks to validate the legitimacy of alternate instrumental notations in use in the 16t... more This study seeks to validate the legitimacy of alternate instrumental notations in use in the 16th and 17th centuries. It is argued that these tablatures should be regarded more as an effective form of score notation rather than a simple using letters and numbers. It argues that musicians in Spain and elsewhere were notationally bilingual and could navigate music using either tablature or mensural notation.
This work traces the evolution of the Spanish fantasia for vihuela de mano from its improvisatory... more This work traces the evolution of the Spanish fantasia for vihuela de mano from its improvisatory origins in the early sixteenth century to a genre conforming to the norms of contemporary vocal polyphony. Analyses of works by Milán, Narváez, Mudarra, Valderrábano, Pisador, Fuenllana, and Daza demonstrate this evolution with particular reference to melodic and contrapuntal design and formal architecture. The author applies a graphic-statistical method that measures the conformity of each fantasia to abstract concepts of vocal counterpoint, and that assesses the level of idiomatic thinking in each work. This methodology, developed and applied to a specific repertoire of 219 fantasias written for the vihuela may have broader applications for stylistic questions about abstract instrumental music of the sixteenth century. While it is clear that vocal repertoire was the focal point for musical development throughout the Renaissance, the composers of instrumental music also drew on a long ...
Musiques-Images-Instruments: Mélanges en l’honneur de Florence Gétreau, 2019
Radiating out from the discovery by Florence Gétreau and others that early vihuela (and lute) bri... more Radiating out from the discovery by Florence Gétreau and others that early vihuela (and lute) bridges were made with slots through which to thread the strings, this paper examines some of the other changes in knowledge about early 16th-century vihuelas and the implications for the construction of modern reproductions, as well as the acoustic and musical implications.
Tañer Vihuela según Juan Bermudo, 2003
An anthology of vihuela music set out following the instructions given by Juan Bermudo in 1555 of... more An anthology of vihuela music set out following the instructions given by Juan Bermudo in 1555 of how to proceed in learning to play the instrument. It is an attempt to establish a didactic program based on a renaissance pedagogical method
... págs. 253-284. Sonido en el silencio: monjas y músicas en la España de 1550 a 1650. Soterraña... more ... págs. 253-284. Sonido en el silencio: monjas y músicas en la España de 1550 a 1650. SoterrañaAguirre Rincón. págs. 285-318. Para tecla y vihuela. Órganos en la España de Felipe II: elementos de procedencia foránea en la organería autóctona. Andrés Cea Galán. págs. ...
... Already in 1569, Luigi Contarino included Fabrizio's name among the renowned... more ... Already in 1569, Luigi Contarino included Fabrizio's name among the renowned composers and instrumentalists active in the city.23 In addition to being a virtuoso lutenist and singer, like his father, Fabrizio was known as a com-poser of vocal music and he was closely ...
Mateo Flecha (1481-1533?): Villancicos , Dec 2013
New modern edition of the surviving villancicos of Mateo Flecha, with introduction, text editions... more New modern edition of the surviving villancicos of Mateo Flecha, with introduction, text editions, transcriptions of the various surviving versions from polyphonic sources and instrumental tablatures.
Los seys libros del Delphin, 2021
Modern urtext edition of Luis de Narváez's famous vihuela book "Los seys libros del Delphin" publ... more Modern urtext edition of Luis de Narváez's famous vihuela book "Los seys libros del Delphin" published in Valladolid in 1538
Teaching and Studying the Lute, 2021
The curiosity to hear music of ages past played on original instruments or historical copies has ... more The curiosity to hear music of ages past played on original instruments or historical copies has become one of the most significant recreative movements in recent cultural history.Thanks to the initial experimental work of pioneers over a century ago, contemporary music culture now values listening to music of past ages with the ears of those who first heard it. We understand it as similar to the sensory vitality that is restored into old paintings when centuries of varnish and tarnish are removed. Early experimentation was transformed into expertise, and historical performance practice has grown to become a multi-million dollar industry.
The lute is a principal player on this revivalist stage and is now taught in many conservatories and music academies throughout the world. This book, based on a conference held in Bremen in September 2019, explores themes that pertain to teaching an ancient instrument in a modern institutional setting and the pedagogical challenges for both teaching and learning. It encompasses a discussion of aspects of modern teaching practice (Pascale Boquet, Jakob Lindberg, John Griffiths), the inner workings of historical technique (Paul O'Dette, Nigel North), improvisation and continuo playing (Joachim Held, Xavier Díaz Latorre, Bor Zuljan), using the right instrument (Michael Lowe), and the continuing exploration of newly rediscovered repertoire (Franco Pavan).
Propuestas pedagógicas e interdisciplinares sobre el análisis y la teoría musical, 2024
El presente libro es el fruto de numerosas investigaciones sobre las disciplinas del análisis y l... more El presente libro es el fruto de numerosas investigaciones sobre las disciplinas del análisis y la teoría musical, areas de conocimiento que se complementan y se retroalimentan, ya que el análisis musicale se basa en la teoría musical para fundamentar sus criterios y métodos, y la teoría musical se nutre del análisis musical para ampliar y revisar sus conceptos y categorías. Las dos disciplinas constituyen herramientas esenciales tanto en el ámbito académico como en el investigador, para el desarrollo de la educación musical, la creación artística, la psicología de la música, la interpretación y otras áreas afines.
Este libro no solo ofrece diferentes propuestas y perspectivas analíticas desde el punto de vista didáctico para todos los lectores, sino que también representa una llamada a la acción para impulsar las investigaciones sobre análisis y teoría musical desde diferentes metodologías innovadoras. Estas servirán para abarcar un prisma cada vez más amplio de planteamientos distintos acerca del objeto musical y que responda cada vez más a preguntas más amplias, críticas y ambiciosas de los investigadores sobre cualquier tipo de objeto de estudio relacionado con la música.
Eva Esteve, John Griffiths y Francisco Rodilla (eds.). Rostocker Hochschulschriften zu Musik und Theater, Volume 2. Leiden: Brill, ISBN 978-3-7705-6913-7 (hardback); ISBN 978-3-8467-6913-3 (e-book), 2025
By combining an evocative potential with practical application, this book presents studies that c... more By combining an evocative potential with practical application, this book presents studies that contribute to two of the most innovative approaches to early music in recent academic trends, namely, the exploration of the physical environment in which recovered repertoires were once performed, and how they may have been perceived by those who heard them. Current interest in the spatial context is not limited to identifying the specific places where musical performance took place, but extends to their topography, their acoustic conditions, and the sensory experience of the spectators for whom they were designed. The development and interconnection of these spatial, acoustic and sensory aspects is the main focus of the present volume. The rapid evolution and expansion of digital technologies in this field has helped to promote new explorations which, with increasing frequency, are able to become a modern-day auditory experience accessible to the general public.
Eva Esteve, John Griffiths y Francisco Rodilla (eds.). Kassel: Reichenberger, Iberian Early Music Studies 6, 2023
This book highlights the cultural importance of music on the Iberian Peninsula from the Middle Ag... more This book highlights the cultural importance of music on the Iberian Peninsula from the Middle Ages to the mid-seventeenth century. Musical events of various kinds are presented as the product of actions generated from within a dynamic and heterogeneous society. The kaleidoscopic vision of the volume aims to increase understanding of the ways that matters of power, gender, dissemination, reception, and musical composition operate in direct correspondence with the attitudes of the society that produced them.
Cultura y música en la Península Ibérica hasta 1650, Kassel: Reichenberger, Iberian Early Music Studies 6. , 2023, 2023
Este libro destaca la importancia cultural de la música en la Península Ibérica desde el medievo ... more Este libro destaca la importancia cultural de la música en la Península Ibérica desde el medievo hasta la primera mitad del siglo XVII. El hecho musical en sus diversas vertientes se presenta como producto de las múltiples acciones generadas por una sociedad dinámica y heterogénea. La visión caleidoscópica del volumen ayuda a comprender mejor las relaciones de poder, género, difusión, recepción y composición musical en correspondencia directa con el pensamiento y la sociedad que las produjo.
Imagination, Books and Community in Medieval Europe, 2009
This article argues an alternate view of the Cantigas de Santa Maria to the contemporary mainstre... more This article argues an alternate view of the Cantigas de Santa Maria to the contemporary mainstream that views it as a collection that reflects thirteenth-century musical practice. In contrast, the collection may be viewed as an imaginary repertory designed within the encyclopaedic enterprise of Alfonso X, as well as an exercise to help him achieve his own eternal salvation. In this sense, the Cantigas may be seen as a composite encyclopaedia of miracle stories, musical instruments, and popular song tunes. As well as the internal evidence within the surviving manuscripts, this view is also supported by the absence of any known tradition of the performance of this repertory prior to the twentieth century. The only primary evidence is of the performance of this repertory is Alfonso's own desire that the Cantigas be sung on feasts of the Virgin in the church where his body would eventually be interred.
Music Education in the Middle Ages and the Renaissance, 2010
This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-... more This paper analyses the pedagogical process of self-instruction for vihuela players in sixteenth-century Spain based on the instructions given by Juan Bermudo in his Declaración de Instrumentos Musicales of 1555. It progresses through learning about two-part counterpoint, harmonic progressions, imitative counterpoint through intabulation prior to attempting to compose one's own fantasias. Importantly, teaching instrumental technique is completely absent from the process.
Estudios. Tomás Luis de Victoria. Studies, 2013
This study offers a theory of musical structure in renaissance music, both instrumental works as ... more This study offers a theory of musical structure in renaissance music, both instrumental works as well as vocal polyphony, based on the idea that composers crafted their music as a confluence of architecture and rhetoric, two of the principal conceptual parameters of their time.
Allegro cum laude: Estudios musicológicos en homenaje a Emilio Casares, 2014
El enfoque principal de este estudio es resaltar su importancia histórica y su influencia en la t... more El enfoque principal de este estudio es resaltar su importancia histórica y su influencia en la transición musical hacia la canción solista y la monodía durante el siglo XVI. Destaca cómo la canción acompañada, interpretada a voz sola con acompañamiento instrumental, ha sido subestimada en las historias generales de la música, a pesar de su papel crucial en el cambio del Renacimiento al Barroco musical. Se discute la necesidad de reevaluar su rol en la historiografía musical, ya que su práctica oral y la falta de documentación escrita han llevado a su menosprecio. Además, el documento sugiere que una perspectiva sociológica podría integrar mejor la canción acompañada en el contexto de la vida cortesana y urbana de la época.
Passaggio in Italia: Music of the Grand Tour in 17th-century Italy, 2015
Few travellers to Italy early in the seventeenth-century noted instrumental and vocal performance... more Few travellers to Italy early in the seventeenth-century noted instrumental and vocal performances as novel. From this we can surmise that initially the new Florentine manner of solo singing was encountered somewhat rarely and that Italian solo singing more generally did not strike visitors as so entirely foreign. Extemporising instrumentalist-singers, for instance, would have continued their ways of making musicin Italy and everywhere else. Since the fifteenth century, singer-lutenists especially had always performed both in town, and at court, participating in both unwritten popular musical traditions and literate courtly music-making. The migration of such musicians between Naples and Spain brings to light some earlier traditions of recitation and chamber performance for lute that have been lost sight of in Italy itself and some that may have returned to Italy from Iberia. Whether listening to improvised arie or learned solo perfrmances of madrigals, early seventeenth-century listeners would have assimilated their experience of the new monody to these older practices.
Teaching and Studying the Lute, 2021
This study provides an introduction to the revival of interest in the lute and the development of... more This study provides an introduction to the revival of interest in the lute and the development of lute pedagogy in the 20th century largely following the principles of instrumental pedagogy established during the 19th century. This pedagogy is contrasted with what is known of the way the lute and related instruments were taught during the renaissance and poses questions about how historical pedagogy may be made relevant to contemporary teaching of early instruments and repertoires.
Cultura y música en la península ibérica hasta c.1650, 2023
This study seeks to validate the legitimacy of alternate instrumental notations in use in the 16t... more This study seeks to validate the legitimacy of alternate instrumental notations in use in the 16th and 17th centuries. It is argued that these tablatures should be regarded more as an effective form of score notation rather than a simple using letters and numbers. It argues that musicians in Spain and elsewhere were notationally bilingual and could navigate music using either tablature or mensural notation.
The Museum of Renaissance Music, 2023
A brief examination of the vihuela (guitar?) by Belchior Dias in the Royal Academy in London. Mor... more A brief examination of the vihuela (guitar?) by Belchior Dias in the Royal Academy in London. More frequently described these days as a guitar due to its configuration as a five-course instrument, this instrument shows all the hallmarks of a vihuela of the second half of the sixteenth century. This study examines the construction principles, the arguments for its divergent classifications, as well as the twentieth-century controversies this wonderful instrument has provoked.
Musica e cultura nella Padova di Pietro Bembo , 2023
A survey of the lute in Padua during the sixteenth century: makers, lutenists, composers, especia... more A survey of the lute in Padua during the sixteenth century: makers, lutenists, composers, especially during the lifetime of Pietro Bembo (d. 1547) and in conjunction with humanist tendencies. It highlights the presence in Padua of German luthiers from the Füssen area such as the Tieffenbruckers, and lutenists such as Antonio Rotta, Melchior de Barberiis, Giovanni Pacolono, Valentin Bakfark and Giulio Cesare Barbetta.
Performance on Lute, Guitar, and Vihula, ed. Victor …
me.com
... Esta fuente contiene una fantasía por un vihuelista identificado como López, y que creo ser u... more ... Esta fuente contiene una fantasía por un vihuelista identificado como López, y que creo ser un coetáneo de Narváez. La obra está atribuida a Fabricio, cuya identidad es mucho más probablemente el italiano Fabricio Dentice que Fabrizio Filli-marino, sugerido por Juan José ...
Espana En La Musica De Occidente Actas Del Congreso Internacional Celebrado En Salamanca 29 De Octubre 5 De Noviembre De 1985 Ano Europeo De La Musica Vol 1 1987 Isbn 84 505 5050 5 Pags 323 324, 1987
works 80 fantasia/ ricercar (58), toccata (17), preludio (5) Intabulations 76 madrigal (26), chan... more works 80 fantasia/ ricercar (58), toccata (17), preludio (5) Intabulations 76 madrigal (26), chanson (25), motet (5), etc Variations 28 passamezzo, pavana, pavaniglia, folia, romanesca, monaca, Didactic works 18 Passaggio, Clausula, Dirata, Passos Cantus firmus settings 9 Table 2. Compositional genres in the Barbarino lute book Composer works Composer works Orlando de Lassus 26 Josquin des Près 2 Giovanni Pierliugi da Palestrina 8 Giaches de Wert 2 Thomas Crecquillon 6 Clemens non Papa 1 Cipriano de Rore 4 Noel Faignient 1 Domenico Ferrabosco 3 Nicholas Gombert (?) 1 Philippe de Monte 3 Pierre Sandrin 1 Alessandro Striggio 3 Philippe Verdelot 1 Clément Janequin (?) 2 Adrian Willaert (?) 1 Table 3. Composers of vocal music intabulated in the Barbarino lute book The importance of the Barbarino lute book is due to two principal factors, that it was compiled by a castrato and its probable provenance. If our deductions are correct concerning its Neapolitan origins, then it fills an impor...
La Musica nel tempo di Caravaggio, Dec 2012
This study examines Caravaggio's "Lute player" and castrato singer-lutenists in Italy c. 1600 in ... more This study examines Caravaggio's "Lute player" and castrato singer-lutenists in Italy c. 1600 in the context of a broad array of documentation, and especially the Barbarino Lute Book (PL-Kj Mus. Ms. 40032) compiled by a castrato singer during the approx. period 1580-1611, probably in Naples. The manuscript is also one of the principal sources for the music of Fabrizio Dentice and other Neapolitans, as well as Lornezino da Roma and Santino Garsi da Parma.
This paper explores concepts of structure and narrative in Renaissance music through analogy with... more This paper explores concepts of structure and narrative in Renaissance music through analogy with concepts of Renaissance architecture and rhetoric. In considering proportion as a fundamental design element, it moves towards understanding the value of number as a driving force in Renaissance music, complementary to the musical expressiveness that sprang from the newfound complicity between words and music. This study argues that design concepts based on proportion and rhetoric that were not satisfactorily explained by sixteenth-century theorists are core principles in the design of polyphonic music of the time. It shows that a large proportion of movements from a selection of Victoria’s masses are quite strictly proportional, and presents a detailed analysis of one of Victoria’s motets to show in detail the way that concepts of architecture and rhetoric are embedded into the musical structure. .
A Musicological Gift: Libro Homenaje for Jane Morlet Hardie, edited by Kathleen Nelson and Maricarmen Gómez. Lions Bay, (Canada): Institute of Mediaeval Music, 2013. 123-146., Nov 2013
A history of the modern vihuela from Emilio Pujol's identification in 1936 of the first known vih... more A history of the modern vihuela from Emilio Pujol's identification in 1936 of the first known vihuela in modern times through to the present. This study surveys the three phases of vihuela construction during the last nearly 80 years: the initial vihuela-guitars, the vihuela-lutes widely used since the 1970s, and recent changes in vihuela construction since the discovery and study of further instruments during the last fifteen years. The study argues that it is the nature of the instrument that is the foremost factor in determining what is today perceived as the "authentic" historical sound of the vihuela, but that the recent change in construction style by only a small number of makers is bringing modern listeners closer than ever before to the sound of the vihuela.
French Renaissance Music and Beyond Studies in Memory of Frank Dobbins, 2018
Lutenist singer Heteroclito Giancarli, active from the 1560s and into the new century has slipped... more Lutenist singer Heteroclito Giancarli, active from the 1560s and into the new century has slipped by unnoticed in modern musicology. A student of Hippolito Tromboncino he was one of the many Italian singers of the sixteenth century who accompanied himself on the lute. His music reveals something of the undocumented practice of lutenist-singers with a style that ranges from something similar to the style of intabulated madrigals through to a style that shows possible Venetian antecedents of Florentine monody. It presents a challenge to the Big Bang theory that has become associated with the monodic experiments in Florence c.1600
Mapping the Motet in the Post-Tridentine Era. , 2018
Motet intabulations for organ and lute printed during the second half of the sixteenth century ar... more Motet intabulations for organ and lute printed during the second half of the sixteenth century are a barometer of their longevity. More than simply exemplifying instrumental performance practice, they attest to musical fashion and the life of liturgical works beyond their strictly ecclesiastical context. The study shows a continued veneration of older motets from the first half of the century as as models of refined polyphonic elegance completely independent of their liturgical function. Whether embellished for virtuosic display or kept unadorned, older motets proliferated alongside works by Lasso and his contemporaries seemingly impervious to the liturgical reforms of the times.
Políticas y prácticas musicales en el mundo de Felipe …, 2004
... siglo XVI / coord. por Javier Suárez Pajares, John Griffiths, 2004, ISBN 84-89457-33-6 , págs... more ... siglo XVI / coord. por Javier Suárez Pajares, John Griffiths, 2004, ISBN 84-89457-33-6 , págs. 415-448. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar. Mi Dialnet. ...
Hispanica Lyra Revista De La Sociedad De La Vihuela, 2013
Explores the periods that precede and follow the years of the vihuela's written repertoire, ... more Explores the periods that precede and follow the years of the vihuela's written repertoire, ca. 1465–1535 and 1575–1625. In the half-century preceding the 1536 publication of Luis de Milán's El maestro, vihuelas were used in diverse strata of society by amateurs and professionals, were made by the same makers who made lutes, harps, rabeles, and monacordios, and were used to play a variety of musical styles. In most cases the music was improvised. There is documentation about some 50 vihuelists of the period, and 16 makers. The nature of the early vihuelas has not been resolved. Later categorizations, such as the division of the instruments into plucked and bowed, seem not to apply. Ian Woodfield's account of the early vihuela in The early history of the viol (RILM [ref]1984-05302[/ref]) needs revision, especially his exclusion from consideration of instruments played on the shoulder. Woodfield relies too exclusively on iconographical materials, without invoking literary or documentary sources, and outlines a naively linear process of development for the vihuela de mano. Evidence suggests, on the contrary, that the standard 16th-c. pattern of the vihuela de mano emerged from multifaceted experimentation. No scholarly study has been directed toward the question of how and why the vihuela was supplanted in popularity by the guitar in the years around 1600. The sources of evidence are outlined, particularly the late MS repertoire. In the marketplace, copies of 16th-c. vihuela books continued to be traded during the first decades of the 17th c., and instrument makers were able to satisfy both ends of the market with vihuelas and guitars built essentially to the same patterns, but strung and played according to different needs.
Ponencia conjunta leída el 15-4-2023, junto con John Griffiths, Soterraña Aguirre y Javier Cruz, ... more Ponencia conjunta leída el 15-4-2023, junto con John Griffiths, Soterraña Aguirre y Javier Cruz, en el CONGRESO INTERNACIONAL: ENCRUCIJADAS MUSICALES. V Congreso de la Comisión de Trabajo “Música y contextos en el mundo ibérico medieval y renacentista” (MEDyREN) SOCIEDAD ESPAÑOLA DE MUSICOLOGÍA, Zamora, 14 al 15 de abril de 2023
Cuadernos De Musica Iberoamericana, 2010
During the second half of the fifteenth century and the first years of the sixteenth, the vihuela... more During the second half of the fifteenth century and the first years of the sixteenth, the vihuela was in a full phase of development. Using documentary, iconographical and literary sources, this study reviews the initial phase of its history in sections that deal with the instrument, its makers and players, its technique and repertoire. The article shows the diversity of designs and sizes of instruments that were indistinguishably played using a plectrum, the fingers, or with a bow, and held on the knee, between the legs, or on the shoulder. This last but signifi cant group is omitted in many previous studies. Simultaneously a fiddle, a viol and a guitar, made by the same makers as lutes, harps, rebecs and keyboards, it was an instrument played in a range of classes of Spanish society.
Recently published studies of literary anonymity have variously challenged scholars of Renaissanc... more Recently published studies of literary anonymity have variously challenged scholars of Renaissance literature, history, and music to rethink how they use and interpret the early modern Anon. This new rethinking can assist literary scholars, musicologists and historians in comprehending premodern anonymity. In this paper I aim to broaden the debate around anonymity beyond the confines of English literature and to establish a common ground within Renaissance studies. The central question addressed in this paper is whether the attention of scholars facing early modern anonymity should be placed on the concealed name, and whether their energies are best served by trying to unmask its concealment. I suggest that the challenge is not to ask what early modern Europeans kept secret, but rather to investigate the communicability of these anonymous acts.
People with unusual names often turn out to be unusual customers. In the 2008 film “The curious c... more People with unusual names often turn out to be unusual customers. In the 2008 film “The curious case of Benjamin Button” the fictitious protagonist with the unusual name turned out to be an elusive figure who enters this world as a newborn old man and who regresses, bit by bit, from old age to infancy. He is a mirage brought into conscious reality by cinematic magic and whose story seeks to change the course of history by reversing our understanding of the human lifecycle. Benjamin Button was a maverick.
Encomium Musicae Essays in Memory of Robert J Snow 2002 Isbn 0 945193 83 1 Pags 321 340, 2002
La Guitarra En La Historia Volumen Vi 1995 Pags 69 88, 1995
Goldberg Early Music Magazine Revista De Musica Antigua, 2005
Scherzo Revista De Musica, 2000
Hispanica Lyra Revista De La Sociedad De La Vihuela, 2010
Nassarre: Revista aragonesa de musicología, 1996
... Poco a poco el tenor logra su independencia melódica y, en este contexto, von Fischer concluy... more ... Poco a poco el tenor logra su independencia melódica y, en este contexto, von Fischer concluye que la caccia "no era al principio nada canónica y originó no de un canon con la adición de un parte inferior, sino de una composición a dos, con la voz canónica ... NASS-XII.2 143 ...
Anuario Musical, 2014
En este artículo se examina el lugar de la vihuela en las Obras para tecla arpa y vihuela de Cabe... more En este artículo se examina el lugar de la vihuela en las Obras para tecla arpa y vihuela de Cabezón. En primer lugar se examina el tema en términos estilísticos, la adaptabilidad de la notación de Cabezón, y el alcance de las modificaciones necesarias para lograr una adaptación satisfactoria para un instrumento de cuerda pulsada. En segundo lugar, se examinan las circunstancias que rodean la publicación de las Obras y la influencia del Libro de cifra nueva de Venegas de Henestrosa en determinar su notación, diseño y contenidos. El estudio muestra que sólo una pequeña proporción de la música de Cabezón es fácilmente transferible a la vihuela, y que la evidencia tiende hacia la conclusión de que la vihuela no forma parte del pensamiento de su autor, sino que la inclusión de la vihuela fue apropiado del libro de Venegas, quizás con la idea de ampliar la circulación de un libro que tendría una clientela bastante restringida.
Janus Estudios Sobre El Siglo De Oro E, 2014
Cuadernos De Musica Iberoamericana, 2013
En los archivos de Valladolid se han encontrado documentos del siglo XVI sobre el vihuelista Este... more En los archivos de Valladolid se han encontrado documentos del siglo XVI sobre el vihuelista Esteban Daza y mas de cincuenta de sus familiares. Hasta donde permiten los documentos, el estudio recrea el entorno familiar del vihuelista, sobre todo sus trece hermanos, y el contexto urbano en el que florecia su musica. Unico musico, aparentemente, de la familia, el estudio ofrece un ejemplo inusual de un musico espanol renacentista y su vida cotidiana. Contiene detalles de las casas que habitaban y de la capilla que establecieron en la iglesia de San Benito, pormenores de su fundacion en 1537 y pervivencia hasta al menos 1807. Es la historia de una familia de la acomodada burguesia vallisoletana que llego a su cenit en tiempos de los abuelos del vihuelista y, viviendo de sus rentas, logro disipar su fortuna y extinguirse casi por completo durante el curso del siglo.
Musicology Australia, 2007
When the anonymous volume entitled Villancicos de diversos autores, a dos, y a tres, y a quatro, ... more When the anonymous volume entitled Villancicos de diversos autores, a dos, y a tres, y a quatro, y a cinco bozes came off the press in 1556, it was unlikely that Venetian primer Girolamo Scotto regarded it as being of greater or lesser significance than any other of the hundreds of music volumes he had published. The particular renown that
Journal of the Lute Society of America 44 (2011), Oct 2012
This study brings into focus one of the most extraordinary lute ricercars of the early sixteenth ... more This study brings into focus one of the most extraordinary lute ricercars of the early sixteenth century, a bold tonal experiment and a work that has passed virtually unnoticed in the revival of lute music in modern times. With no elaborate title to attract attention, this Recercare is the closing work and crowning jewel of the earliest known printed lute tablature, Francesco Spinacino’s Intabulatura de Lauto, Libro primo (Venice: Petrucci, 1507). Complementing Spinacino’s Recercare in tutti li toni that moves systematically through the eight church modes within a single work, this ricercar is deliberately conceived in complete contravention of accepted music theory. In addition to being an essay in tonality that explores every corner of the chromatic octave, it is also a work created with a level of architectural proportion more frequently associated with subsequent generations of composers. It is thus the antithesis of the category of “preludial or rhapsodic ricercar” into which the works of the Petrucci lutenists are habitually classified. Unlikely to be created by an extemporising minstrel lutenist, this ricercar shows Spinacino to have been a sophisticated musician exploring some of the most debated musical topics of its time. Both the structural and conceptual elegance of this ricercar together with its radical interrogation of the principles of tonality and the practice of modal composition obliges a reconsideration of the status of the earliest lute ricercars within the broader musical context of the early sixteenth century, and a reevaluation of Francesco Spinacino as lutenist, composer, and musical thinker.
Musiques-Images-Instruments: Mélanges en l’honneur de Florence Gétreau, 2019
This article reflects upon research in the area of the iconography and organology of early vihuel... more This article reflects upon research in the area of the iconography and organology of early vihuela, the verification that results between finding matching details when examining pictorial and iconographical sources, such as the cut out windows, sometimes M-shaped, in vihuela bridges instead of the drilled holes usually used in lutes. The first part of the article assimilates this information into more recent discussions of the way vihuela soundboards were made and barred, and the implications on tonal character, sound production and performance. The second part of the essay reviews the current state of research concerning the vihuela in the fifteenth century, especially through refuting the false organological distinctions between “fiddles” and “vihuelas” propounded in the 1980s, and re-examining the organological evidence with the larger sample of instruments that results.
Musicología en el siglo XXI: nuevos retos, nuevos enfoques., 2018
Resumen: Desde la óptica de mi propia investigación, este trabajo explora uno de los grandes reto... more Resumen: Desde la óptica de mi propia investigación, este trabajo explora uno de los grandes retos de la musicología del futuro, las posibilidades que nos surgen a través de la aplicación de la informática a la musicología. Las posibilidades de almacenar grandes cantidades de información, y de crear herramientas que permitirán un sinfín de operaciones asociativas, reconstructivas, analíticas, o de catalogación ya están comenzando a cambiar para siempre la cara de la musicología, y la forma en la que se comunica el fruto de la investigación. Empleando mi propio trabajo de crear un habitat digital para todo lo que se refiere a la vihuela, la comunicación presentará una visión del futuro a través de una plataforma creada para recoger y manejar todo lo que se sabe del instrumento renacentista, su música, y sus tañedores, constructores y consumidores, junto con una colección completa de información documental, bibliográfica y discográfica relacionada. Dentro de este ámbito, también reflexionará sobre lo que en este proyecto representa la triangulación de la relación tradicional y lineal que existe entre el historiador y sus lectores. También se contextualizará este proyecto dentro de las corrientes internacionales de la musicología del siglo actual. Palabras clave: vihuela, metodología, informática, humanidades digitales. THE VIHUELA SEEN FROM MY COMPUTER: MUSICOLOGY AND THE DIGITAL HUMANITIES Abstract: From the viewpoint of my own research, this paper explores one of the largest challenges of the musicology of the future, namely, the possibilities that result from harnessing computing to musicology. The possibilities that arise from the storage of large quantities of data, of creating tools that will permit a limitless number of associative, reconstructive, analytical and cataloguing operations are already starting to change indelibly the face of musicology, together with the ways in which we communicate the fruit of our research. Using my own work to create a digital habitat for everything that pertains to the vihuela, this paper presents a vision of the future by menas of a platform created to gather and assemble all that is known about the renaissance instrument, it music, its players, instrument builders, and consumers, together with a complete collection of documentary information, bibliography and discography. Within this panorama, the paper also reflects on the way in which this project represents the triangulations of the traditional, linear relationship that separates the historian from his or her readers. It also contextualises the project among the international trends of today's musicology.
ESPAÑOL • El renacimiento musical del siglo XVI, según la musicología tradicional, ha estado l... more ESPAÑOL • El renacimiento musical del siglo XVI, según la musicología tradicional, ha estado ligado intrínsecamente al humanismo, sobre todo a la expresividad musical nacida de una nueva complicidad entre música y texto. Paralelamente, los humanistas valoraban el equilibrio pitagórico del universo y la concordancia que resultó de las proporciones que gobernaban el movimiento planetario. Este estudio explora la proporcionalidad de las estructuras musicales de Victoria y sus contemporáneos, los paralelos entre música y las otras artes, y la interdependencia de proporción arquitectónica y la retórica narrativa que define el carácter musical de una época.
ENGLISH • The musical renaissance of the sixteenth century, according to traditional musicology, has been intrinsically linked to humanism, above all to the musical expressiveness that sprang from the newfound complicity between words and music. At the same time, humanists valued the Pythagorean balance of the universe and the concordance that emanated from the proportions that governed planetary motion. This study explores the proportionality of the musical structures of Victoria and his contemporaries, the parallels between music and the other arts, and the interdependence between architectonic proportion and rhetorical narrative that define the musical character of the age."
Old Spanish ballads have survived extensive travels through time and space in the hearts of Sepha... more Old Spanish ballads have survived extensive travels through time and space in the hearts of Sephardic Jews. The songs are part of a cultural memory that has remained with these people for more than 500 years since they were banished from the land they had inhabited and loved for centuries before that. This talk explores some of the ramifications of these observations, especially from the viewpoint of contemporary performance.
An exploration of the history of vihuela construction since the first reproductions were made som... more An exploration of the history of vihuela construction since the first reproductions were made some 80 years ago. The paper traces the instruments made initially for Emilio Pujol and the what we might call the first period when makers applied the construction principles of the modern classical guitar to vihuela reproductions. The second phase, from the early 1980s saw makers apply construction techniques derived from lute building. Recent vihuela construction is starting to absorb the new information that has come to light as a result of detailed study of the recently found surviving instruments in Paris and Quito, and the realisation that the Belchior Dias instrument in London is also likely to have been originally a vihuela.
When Giulio Caccini published Le nuove musiche in Florence 1602 he was probably unaware that his ... more When Giulio Caccini published Le nuove musiche in Florence 1602 he was probably unaware that his songs would achieve lasting fame as one of the foundation stones of an entire period of Western music. The same year in neighbouring Venice, another lutenist singer, Heteroclito Giancarli, published a book of comparable songs under the title Compositioni musicali, that differ in format from Caccini inasmuch as the lute accompaniments of the songs are notated in tablature rather than Caccini’s innovative figured bass. While Caccini’s name is one that it is probably known to millions today, Giancarli’s has been completely forgotten, not even being named in modern reference works such as The New Grove. This paper makes the first initial exploration of Giancarli’s works, examining their musical style, comparing some of their features with Caccini’s songs, and contextualisng them in terms of the radical musical developments in contemporary Venice.
Pietrobono di Burzellis (1417-1497) was the most renowned lutenist performer of his day and, desp... more Pietrobono di Burzellis (1417-1497) was the most renowned lutenist performer of his day and, despite the fact that none of his music survives, he remains the figure who epitomises the improvisatori whose music resonated through the courts of northern Italy in the fifteenth and early sixteenth centuries. In contrast to the fame that such improvisors enjoyed during their own lifetime, they remain marginalised in contemporary scholarship largely due to the absence of notated relics of their musical practice. In a musical historiography built on philological foundations, they have been considered by default as the inferiors of the Franco-Flemish polyphonists and theorists who came to Italy in the decades around 1500 to service the chapels of the northern courts. Close examination of the lute books published in Venice by Ottaviano Petrucci in the early sixteenth century, particularly the work of Francesco Spinacino, provides evidence of a more central role not only in musical practice, but also in the intellectual debates concerning music that were percolating in these culturally rich centres.
Less familiar to contemporary musicologists than Benjamin Button, Heteroclito Giancarli might be ... more Less familiar to contemporary musicologists than Benjamin Button, Heteroclito Giancarli might be poised to do more for music than Benjamin Button did for the science of ageing. A Venetian patrician, amateur singer and author of a collection of Compositione musicali published in 1602, Heteroclito Giancarli might be just the man to unsettle one of the pivotal foundation stones of Western musical culture concerning the genesis of opera. He is the tip of an iceberg that offers an alternate history to the modern myth starring Florentine nobleman Giovanni Bardi and his Camerata of monody co-conspirators, Girolamo Mei, Vincenzo Galilei and Jacopo Peri. Instead, the Giancarli story tells of a hundred years of singing to the lute, of a much more realistic and subtle development and reshaping of existing practices, and of Baroque styles that grew from renaissance traditions rather than as reaction against them. It therefore questions whether it was really the Bardi Laboratories that killed off polyphony in order to reinvent monody, and that acted to enable the Ancient World to triumph over Modernity. My research suggests a less theatrical scenario that recognises the presence of singer-songwriters throughout the sixteenth century, musicians usually omitted from general histories of sixteenth-century music, and suggests a series of continuities that link Giulio Caccini and other early baroque monodists to the lutenist songsters who flourished throughout the sixteenth century.
New Perspectives in Fifteenth- and Sixteenth-Century Music Notations, 2022
To coincide with the eightieth anniversary of Willi Apel’s The Notation of Polyphonic of Music, 2... more To coincide with the eightieth anniversary of Willi Apel’s The Notation of Polyphonic of Music, 2022 will see the publication of the first substantial study of tablature notation in early modern Europe since Apel’s book. The fruit of a decade’s work and the study of thousands of works for close to forty instruments, it extends far beyond the alphanumeric representation of sound that co-existed alongside mensural notation until its demise around the middle of the eighteenth century. This paper seeks to offer new ways of defining tablature, to reconsider its functions, and to propose a revision of the historiography that unconsciously marginalised one of the mainstream notational systems of the renaissance. More specifically, the paper explores the essence of the graphic systems of tablature and proposes numerous terminological changes. Tablature is shown as more than a simple notation for "playing by numbers,” instead an alternative way of thinking about music and transmitting it. In a musically bilingual society, tablature was the preferred notation for writing music in score, also the only renaissance notation to incorporate performance-related information that was impossible in conventional notation. The roles of tablature within the notational mainstream included it use as a compositional tool, for conducting scores, and for the transmission of elite repertoires into the urban sphere.
MSA Annual Conference, 2021
This paper was read at the 2021 annual conference of the Musicological Society of Australia. It i... more This paper was read at the 2021 annual conference of the Musicological Society of Australia. It is drawn from my forthcoming book, edited with David Dolata and Philippe Vendrix: "Tablature: Alternate notations 1350-1750" to be published by Brepols. It presents a new vision of tablature and its role in Western culture resulting from a ten-year study of tablatures, 1350-1750. The surviving repertoire of more than 70,000 works for more than forty instruments, including human voice, is preserved in a variety of notations that are alternatives to conventional mensural notation. We examined all kinds of tablatures, from the widely accepted mainstream forms to the more idiosyncratic and experimental varieties that gained little traction in the real world of musical practice. On the notational side, this paper explores the nature of tablature, the essence of its graphic system, the commonalities between systems and the contemporary challenges to renewing the associated terminology. From another perspective, it considers the marginalisation of tablature music in our cultural heritage, and the attendant historiographical deficiencies that result from the near-total exclusion of the repertoire from musicological thinking. Tablature can be revealed as more than a simple notation for "playing by numbers,” instead an alternative way of thinking about music and transmitting it. Tablature fulfilled special and necessary functions, not only as the first viable system of score notation, but also permitting the expression of dimensions of performance-related information that were impossible in conventional notation. In the sixteenth and seventeenth centuries, tablature was a mainstream notation, essential to the social fabric of music, and important whether in their broader use as conducting scores, or in facilitating the popular transmission of elite repertoires.
Everything about the Vihuela. Instruments, music, people, documents, bibliography, recordings. ... more Everything about the Vihuela. Instruments, music, people, documents, bibliography, recordings.
The Vihuela Database a complete research tool that can be used for simple searches or complex relational questions. It is conceived as a self-contained complete habitat. It covers the approximate period from 1470 to 1630, and aims to gather together in one place all that is known about the vihuelas its music and its players.
• Enter via https://www.lavihuela.com/vihuela-database to see a map of the structure
Musicology Australia, 1987
Bibliographies are the desk-top companions of any serious researcher: a reliable and clearly laid... more Bibliographies are the desk-top companions of any serious researcher: a reliable and clearly laid-out bibliography facilitates the time-consuming tasks that are the scholar's frequent burden. Annotated bibliographies are even more helpful, as they permit rapid discrimination between sources of varying degrees of relevance. Such a rationale obviously underlies the formulation of Meredith McCutcheon's new bibliography Guitar and Vihuela, a welcome
Musicology Australia, 1997
Only a small portion of the music produced in Spain during the seventeenth and eighteenth centuri... more Only a small portion of the music produced in Spain during the seventeenth and eighteenth centuries has been revived either in modern editions, live performances, or recordings. There is little Spanish music—apart from the works of the immigrant Domenico Scarlatti—between the generations of Tomis Luis de Victoria and Isaac Alb4niz that has gained prominence. Superficially, this might seem due to
According to the Oxford dictionary, Melancholy is a feeling of pensive sadness, typically with no... more According to the Oxford dictionary, Melancholy is a feeling of pensive sadness, typically with no obvious cause. Melancholy can be seen as a positive feeling, a moment of self-reflection, allowing us to be sad. It is also often seen as a culturally endorsed performance of narcissism. In many contexts melancholy is understood as a mental condition, a form of major depressive disorder. So what is exactly melancholy? Is melancholy the right word for what most of us are feeling during the pandemic?
In this episode of 5 Things About we hear from four University of Melbourne scholars, Professor Véronique Duché, Dr Vivien Gaston, Professor John Griffiths and Dr Mark Nicholls. The Melbourne Melancholic team reflect on the changing nature of melancholy and how they understand the idea in literature, art history, music and film. Their discussion highlights keys theorists from the ancients to Freud and Kristeva, and a range of melancholic art works by artists such as Gérard de Nerval, Francisco de Goya, John Dowland and Alfred Hitchcock.