Emily Peppers | University of Warsaw (original) (raw)
Papers by Emily Peppers
Dans la France du xvie siècle, la terminologie organologique nous offre d'intéressantes piste... more Dans la France du xvie siècle, la terminologie organologique nous offre d'intéressantes pistes de recherche pour l'étude des instruments de musique. Deux types de sources seront examinées dans ce travail pour analyser cette terminologie : les entrées triomphales royales et les inventaires après décès, complétées par des notices de dictionnaires de l'époque, qui témoignent des changements dans la culture musicale de la période.
The Cultural Collections Audit project began at the University of Edinburgh in 2004, searching fo... more The Cultural Collections Audit project began at the University of Edinburgh in 2004, searching for hidden treasures in its 'distributed heritage collections' across the university. The objects and collections recorded in the Audit ranged widely from fine art and furniture to historical scientific and teaching equipment and personalia relating to key figures in the university's long tradition of academic excellence. This information was gathered in order to create a central database of information, to identify objects in vulnerable or dangerous situations, to identify items that require conservation, and for insurance purposes. The response of colleagues in all areas of the university has been overwhelmingly positive. The Audit has proved successful in raising awareness of collections and collections issues both within the university and with the national media, instilling a sense of pride among non-museums university staff who have tirelessly safeguarded these heritage collections despite ongoing pressure to downsize. The Audit highlighted a number of issues in the university's non-formal collections including environmental conditions, departmental relocations, object conditions, security, insurance, storage and long-term preservation. With the positive support and specialist knowledge of established contacts in every department of the university, the Audit worked to bring these collections and issues to light by acting as a resource for information, identifying vulnerable items and challenge areas, and by celebrating the university's rich object history through an online website dedicated to the Audit. This paper details the challenges identified by the Cultural Audit, and gives examples of positive solutions that enable preservation while promoting pride in academic excellence and innovation. Introduction and project aims The University of Edinburgh is blessed with a number of formally curated collections, including the Fine Art Collection, the Edinburgh University Collection of Historic Musical Instruments, the Anatomy Museum, the Chemistry Museum and the Natural History Museum. Numerous other objects and collections exist across the university in meeting rooms, labs, and offices, but without an in-depth survey of these holdings, details of their scope, location, and condition were not known to the university. The need to assess the University of Edinburgh's cultural assets was identified by the University Museums and Galleries, and a Cultural Collections Audit project was recommended to the University Collections Advisory Committee. The Cultural Audit project began at the University of Edinburgh in 2004, with a remit of identifying hidden treasures in its Fig. 1-A group portrait of Professor Tait and his physics laboratory class. 1875. UCA0973
This dissertation investigates the introduction and development of a musical instrument, the viol... more This dissertation investigates the introduction and development of a musical instrument, the viola da gamba (viol), in sixteenth-century France by articulating the wider cultural consequences of introducing new musical instruments from one culture to another. The research examines cultural exchange with foreign courts, the effects of patronage, social perceptions and changing attitudes during the introduction of the viol into France. Using the viol as a focal point to explore Renaissance material culture, this thesis is an interdisciplinary study into music, art, language and terminology, foreign connections and cultural interaction. Each chapter focuses on a different aspect of the viol's introduction, development and establishment into sixteenth-century France. Rare archival sources, visual media and printed books never before connected to the viol have been identified and analysed to construct a detailed framework of the social, artistic and musical culture within which the viol was used. The five chapters explore professional viol use in the royal court and regional areas, artistic representations of the viol, triumphal entries and festivals, the changing role of viol players from professional to amateur and the viol in sixteenthcentury instrument making. The appendices include a catalogue of images depicting the viol in French visual media, identifying allegorical and religious associations, making foreign connections, exploring methods of artistic creation and analysing physical depictions. Dating, monetary units, transcriptions and translations viii Chapter One: Introduction 1 Methodology-organology and the study of material culture 2 Methodology-iconography 4 Cultural influence vs. cultural exchange 6 Palaeography 9 Bibliographic review 9 Primary Sources Dissertation overview Chapter Two: Professional Musicians and the Viol Before the viol, instrumental music in the royal court Issues in nomenclature: the term 'joueur d'instruments' revisited Evidence of regional viol usage-residential and visiting players across France The Court of Lorraine The French royal court Other regional use of the viol in court, city and private music-making The lyre in Renaissance France: a viol by another name or another instrument entirely? Conclusion v Chapter Three: The Viol in Sixteenth-Century French Visual Media Artistic media Towards a French model? The physical organology of viols depicted in sixteenth-century French visual media From the Sublime to 'Grotesques': Three case studies In the Hands of Angels: viol iconography in the stained glass of French Burgundy, Champagne and Normandy Methods of working
During the first decades of the sixteenth century the popularity of the viol (viola da gamba) enj... more During the first decades of the sixteenth century the popularity of the viol (viola da gamba) enjoyed an expansion throughout much of Western Europe, establishing itself through travelling musical performers in the royal courts and great houses of the Renaissance. Through this cultural exchange smaller courts were provided with first-hand information about continental musical tastes, and strove to imitate the sophistication and refinement of the magnificent royal courts in France, Italy, and Germany. Although travelling musicians brought the viol into Scotland sometime between 1530-1538, there is little published work on the subject. While it is true that the lack of research on the early viol in Scotland is directly related to the lack of hard facts in the form of surviving documents or instruments, cultural ties in connection to the viol strongly suggest a possibility of gaining a greater understanding of the viol through a comparative study of courtly cultures and musical influen...
Dans la France du xvie siècle, la terminologie organologique nous offre d'intéressantes piste... more Dans la France du xvie siècle, la terminologie organologique nous offre d'intéressantes pistes de recherche pour l'étude des instruments de musique. Deux types de sources seront examinées dans ce travail pour analyser cette terminologie : les entrées triomphales royales et les inventaires après décès, complétées par des notices de dictionnaires de l'époque, qui témoignent des changements dans la culture musicale de la période.
The Cultural Collections Audit project began at the University of Edinburgh in 2004, searching fo... more The Cultural Collections Audit project began at the University of Edinburgh in 2004, searching for hidden treasures in its 'distributed heritage collections' across the university. The objects and collections recorded in the Audit ranged widely from fine art and furniture to historical scientific and teaching equipment and personalia relating to key figures in the university's long tradition of academic excellence. This information was gathered in order to create a central database of information, to identify objects in vulnerable or dangerous situations, to identify items that require conservation, and for insurance purposes. The response of colleagues in all areas of the university has been overwhelmingly positive. The Audit has proved successful in raising awareness of collections and collections issues both within the university and with the national media, instilling a sense of pride among non-museums university staff who have tirelessly safeguarded these heritage collections despite ongoing pressure to downsize. The Audit highlighted a number of issues in the university's non-formal collections including environmental conditions, departmental relocations, object conditions, security, insurance, storage and long-term preservation. With the positive support and specialist knowledge of established contacts in every department of the university, the Audit worked to bring these collections and issues to light by acting as a resource for information, identifying vulnerable items and challenge areas, and by celebrating the university's rich object history through an online website dedicated to the Audit. This paper details the challenges identified by the Cultural Audit, and gives examples of positive solutions that enable preservation while promoting pride in academic excellence and innovation. Introduction and project aims The University of Edinburgh is blessed with a number of formally curated collections, including the Fine Art Collection, the Edinburgh University Collection of Historic Musical Instruments, the Anatomy Museum, the Chemistry Museum and the Natural History Museum. Numerous other objects and collections exist across the university in meeting rooms, labs, and offices, but without an in-depth survey of these holdings, details of their scope, location, and condition were not known to the university. The need to assess the University of Edinburgh's cultural assets was identified by the University Museums and Galleries, and a Cultural Collections Audit project was recommended to the University Collections Advisory Committee. The Cultural Audit project began at the University of Edinburgh in 2004, with a remit of identifying hidden treasures in its Fig. 1-A group portrait of Professor Tait and his physics laboratory class. 1875. UCA0973
This dissertation investigates the introduction and development of a musical instrument, the viol... more This dissertation investigates the introduction and development of a musical instrument, the viola da gamba (viol), in sixteenth-century France by articulating the wider cultural consequences of introducing new musical instruments from one culture to another. The research examines cultural exchange with foreign courts, the effects of patronage, social perceptions and changing attitudes during the introduction of the viol into France. Using the viol as a focal point to explore Renaissance material culture, this thesis is an interdisciplinary study into music, art, language and terminology, foreign connections and cultural interaction. Each chapter focuses on a different aspect of the viol's introduction, development and establishment into sixteenth-century France. Rare archival sources, visual media and printed books never before connected to the viol have been identified and analysed to construct a detailed framework of the social, artistic and musical culture within which the viol was used. The five chapters explore professional viol use in the royal court and regional areas, artistic representations of the viol, triumphal entries and festivals, the changing role of viol players from professional to amateur and the viol in sixteenthcentury instrument making. The appendices include a catalogue of images depicting the viol in French visual media, identifying allegorical and religious associations, making foreign connections, exploring methods of artistic creation and analysing physical depictions. Dating, monetary units, transcriptions and translations viii Chapter One: Introduction 1 Methodology-organology and the study of material culture 2 Methodology-iconography 4 Cultural influence vs. cultural exchange 6 Palaeography 9 Bibliographic review 9 Primary Sources Dissertation overview Chapter Two: Professional Musicians and the Viol Before the viol, instrumental music in the royal court Issues in nomenclature: the term 'joueur d'instruments' revisited Evidence of regional viol usage-residential and visiting players across France The Court of Lorraine The French royal court Other regional use of the viol in court, city and private music-making The lyre in Renaissance France: a viol by another name or another instrument entirely? Conclusion v Chapter Three: The Viol in Sixteenth-Century French Visual Media Artistic media Towards a French model? The physical organology of viols depicted in sixteenth-century French visual media From the Sublime to 'Grotesques': Three case studies In the Hands of Angels: viol iconography in the stained glass of French Burgundy, Champagne and Normandy Methods of working
During the first decades of the sixteenth century the popularity of the viol (viola da gamba) enj... more During the first decades of the sixteenth century the popularity of the viol (viola da gamba) enjoyed an expansion throughout much of Western Europe, establishing itself through travelling musical performers in the royal courts and great houses of the Renaissance. Through this cultural exchange smaller courts were provided with first-hand information about continental musical tastes, and strove to imitate the sophistication and refinement of the magnificent royal courts in France, Italy, and Germany. Although travelling musicians brought the viol into Scotland sometime between 1530-1538, there is little published work on the subject. While it is true that the lack of research on the early viol in Scotland is directly related to the lack of hard facts in the form of surviving documents or instruments, cultural ties in connection to the viol strongly suggest a possibility of gaining a greater understanding of the viol through a comparative study of courtly cultures and musical influen...