Preparing a Late Period Medieval Music Manuscript: Deus in Aujitorium (original) (raw)
For the Anno Societatis 50 Artisan’s Challenge I chose to prepare a later period medieval musical manuscript page (folio) with illumination and musical notation. The “scroll” was prepared in the period style using period materials, methods and tools whenever feasible. After choosing an exemplar, a digital reproduction of high quality provided by the museum (University of Montpellier, France) holding the original was examined as closely as possible using a magnifying glass and making detailed notes. While constantly consulting references listed as well as society Laurels and Grant-level award recipient, the following was taken into consideration: page layout, calligraphy hand, musical notation and layout, illuminated figures and other decoration (materials and pigments, techniques used for modeling and brushwork, the iconography (subject, composition, symbology) and style), as well as the relationship between text and images. Latin text was transcribed. I found recordings of “Deus in Aujitorium” and listening to the recordings of the exemplar motet before and during preparation of the project, as well as making the recordings available during the Artisan Challenge sessions at events, enhanced the creative process.
Related papers
Early Music History, 2018
Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F. http://dx.doi.org/10.1017/S0261127918000049
Disiecta Membra Musicae. Studies in Musical Fragmentology, 2020
The paper focuses on the latest results and achievements of the research group Digital Musical Fragmentology established at the Department of Early Music History of the Institute for Musicology in Budapest. The research is closely related to the decades-long musical, liturgical and palaeographical examination of sources, repertories, melodic and notation systems of the cantus planus in Hungary and Central Europe. After discussing the main principles of describing, systemising and analysing notated manuscript fragments on the website Fragmenta Manuscriptorum Musicalium Hungariae Mediaevalis two case-studies are presented in detail: fragments of a fifteenth-century Graduale Strigoniense and those of the Sequentionale Waradiense. Both are contributing to a virtual reunification of disseminated groups of fragments, dispersed in different libraries, towns, countries.
Early Music History
Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirtee...
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.