"Musical Practices among Marian Sodalities in the Gallo- and Flandro-Belgic Provinces (16th-18th centuries)", Jesuit and Music, dir. Daniele Filippi, numéro special du Journal of Jesuit Studies, 3/3 (2016), p. 398-414. (original) (raw)
Related papers
Recomposition of musical works among the Jesuits: practice and theory
„Musica Iagellonica” 13 (2022), s. 69–80, 2022
This paper deals with the adaptation of musical works that occurred in Jesuit circles. In sources of Jesuit provenance, we come across the existence of many recompositions of pre-existing works which were accommodated to local needs through various kinds of adaptational strategies. Composers who were active in Jesuit circles in Rome were only too willing to make use of these practices — for instance, Asprilio Pacelli and Kaspar Förster junior who were also connected for a while with musical centres in the Polish-Lithuanian Commonwealth. Acquaintance with these practices is also attested to by the Roman provenance of organ tablatures. Similar sources of inspiration and analogous techniques of compositional adaptation are also found in Jesuit Bohemian and Silesian circles — Carolus Rabovius and Carolus Pfeiffer, inter alia, made their living this way. The operative strategies employed by composers that we have been studying clearly accorded with the narrative of Jesuit authors who advanced the concept of parodia in their textbooks on poetics — Roberto Bellarmino, Jacob Pontanus and Jacob Masen, amongst other. Like other European humanist authors, their understanding of the concept derived from Aristotle and Quintilian. It is they who made clear the purposes for which one might have recourse to these strategies and the circumstances in which one should employ such tools. Literature and music that came about in reliance on these sorts of procedures had to serve a didactic function, first and foremost. And in point of fact, the same could also be said about the cultural context of repertoire presented in this paper.
“Bella festa si fa ncelu”: Jesuits and Musical Traditions in the Heart of the Mediterranean*
Journal of Jesuit Studies, 2016
Still today, in Sicily, Sardinia, and Corsica, the three main islands of the western Mediterranean, there is a great flourishing of orally transmitted devotional songs which can be traced back to the acculturation processes brought about by Jesuit missionaries in the early modern era. Adopting an ethnomusicological approach, our essay focuses on some significant case studies, aiming to contribute to the discussion about Jesuits and music both in a contemporary and in a historical perspective. On the one hand, we observe the special consideration given today to some widespread popular religious songs that are commonly regarded as “historical Jesuit heritage.” On the other hand, we investigate historical sources, looking for traces of past music practices and hints about the relationships between Jesuit missionaries and traditional musicians. Rather than provide definitive answers, our purpose is to raise questions about the inherent complexity of the interpretation of past musical pr...
2019
Institute of Musical Research, Senate House, London in collaboration with “The Renaissance Musical Work: Foundations, Repertories and Practices” funded by the Ministery of Innovation, Science and Universities [HAR2015-70181-P] based at the University of Valladolid IP: Soterraña Aguirre Rincón Thursday 27 June 2019 Keynote Speaker Kate van Orden, Harvard University Directors Manuel del Sol, University of Valladolid David Lee, University of Glasgow Stephen Rose, Royal Holloway, University of London Lydia Goehr’s The Imaginary Museum of Musical Works (1992) prompted heated discussions about how far the term and concept of the ‘musical work’ is appropriate for musical cultures of the 16th and 17th centuries. Whereas earlier discussions had focused on ontological issues and on theoretical treatises of the period, Goehr sought to provide what she termed a ‘historical’ approach, yet she was much criticised for her relatively unnuanced account of music history prior to 1750. Now, some twenty-six years on, the notion of ‘work’ is ripe for exploration from a much broader range of disciplinary perspectives including book history, performance studies, the study of historical improvisation, and economic ethnomusicology. Attributes usually associated with a musical work (such as notational fixity or durability in the repertory) need to be revised, in light of the increasing awareness of the importance of oral and memory-based cultures in the 16th and 17th centuries, as well as an increasingly nuanced understanding of the symbolic and practical functions of notated sources. Rather than traditional 20-minute papers, the convenors invite contributions to plenary sessions and round-table discussions relating to several key themes, including the various meanings of the terms ‘composition’, ‘improvisation’ and ‘work’ in the 16th and 17th centuries. We invite participation from perspectives that may include: ● Perspectives from book history on the musical work as notated opus ● Perspectives from economic ethnomusicology on the ‘work’ as a form of labour ● Perspectives from performance studies on ‘work’ within an oral culture of memorisation and improvisation ● Musical works and early modern notions of the musical author ● The relationship between the ephemeral and the durable, and its implications for the work as a form of social capital ● The implications for modern editorial practices Travel bursaries for postgraduate students will be available. The study day is supported by the Institute of Musical Research (Royal Holloway, University of London). RDI Project “The Renaissance Musical Work” http://contrapunto.uva.es
Textus & Musica [En ligne], Les numéros, 7 | 2023 - Performance of Medieval Monophony: Text and Image as Evidence for Musical Practice, Performance of Medieval Monophony: Text and Image as Evidence for Musical Practice, 2023
This article addresses the transmission context of a formerly unknown text on music theory, copied on the verso of the last folio of a gradual (Lisbon, BnP, L.C. 238), which was part of a set of choirbooks commissioned by Catarina d’Eça, abbess of Santa María de Lorvão (1471-1521). The article discusses this source within the broader context of the production and circulation of liturgical books, particularly among Cistercian nuns. It reviews some assumptions concerning women’s agency in creating and performing liturgy and the negotiation between nuns and priests over nearly every aspect of liturgical care. It shows how the role of both lay and religious women as mediators across and between religious orders and kingdoms or territories can no longer be overlooked. The last section examines the theoretical sources of this brief musical treatise to determine whether the author of the text drew on the tradition of the Bernardian reform, or on other kinds of musical sources from outside the Cistercian tradition. Both the sources and the use of the Castilian language shed light on the origins of the text’s author.
, the Universiff of Sydney Library acquired a number of liturgical music manuscripts of probable Spanish origin and use. This collection includes t-en manuscripts with musical notation. The books are of various kinds, and both the manuscripts and their contents span a period from the twelfth through the mid eighteenth century, with a concentration in the sixteenth century. They are as follows: one book of fragments (probably 15thc); six books of sixteenth-century material for the Mass and office, one containing a thirteenth-century bifolium as part of its binding; and three eighteenth-century monastic antiphonals. This report introduces the manuscripts, and explores the hypothesis that flve of them may belong to the complex of .or..". at Salamanca Cathedral recently discovered and studied by James Boyce, thus contributing to an important part of the liturgical and intellectual heritage of the Spanish Golden Age that until now has been missing from the record. This survey aLrts the scholarly world to the existence of the Sydney collection and indicates the current and projected state of research on its contents. French Abstract Entre 2002 et 2006, l'universite de Sydney a fait l'acquisition d'un certain nombre de manuscrits de musique liturgique dont l'origine est vraisemblablement espagnole. Cette collection comprend dix manuscrits comportant des notations musicales. ks livres, de genres divers, ainsi que les manuscrits s'etendent sur une periode allant du XIIe siecle au milieu du XWIIe sidcle, avec une concentration notable au X\rle s. Ils consistent en un livre de fragments (probablement du XVe s.), sk livres du X\rIe s. comportant des pieces destinees d la Messe et I'Office, la reliure de l'un d'eux conte-nanCegalementrnbifolium du XIIIe s., enfln, trois antiphonaires monastiques. Ce .uppo.t presente les manuscrits et explore l'hypothese selon laquelle cinq d'entre eux appartiendraient aux sources de la Cathedrale de Salamanque. Celles-ci ont ete decouvertes r6cemment et ont ete etudiees par James Boyce, contribuant ainsi i une partie importante de 1'h6ritage liturgique et intellectuel de lAge d'or espagnol, jusqu'ici minquant. Cette etude informe le monde savant de l'existence de la collection de Sydney, de sa situation actuelle en termes de recherche et des projets qui y sont lies' 1. Jane Morlet Hardie is an Honorary Research Associate at the Centre for Medieval Studies at the Universiff of SydneY. 206 FONTES ARTIS MUSICAE 55,/1 German Abstract Zwischen 2002 und 2006 hat die Bibliothek der UniversilAt Sydney zehn Handschriften liturgischer Musik erworben, die aus Spanien stammen und dort benutzt wurden. Die Bdnde und ihr Inhalt datieren aus der Zeit des 12. bis zur Mitte des 18. Jahrhunderts, wobei der Schwerpunkt auf dem 16. Jahrhundert liegt. Folgende Bdnde sind enthalten: ein Band mit Fragmenten (wahrscheinlich 15. Jahrhundert); sechs Biinde mit Werken des 16. Jahrhundert ftir Messe und Offizium; ein Band, der als Teil seines Einbands ein ,,Bifolium" aus dem 13. Jahrhundert enthiilt und drei kkisterliche Antiphonale aus dem 18. Jahrhundert. Dieser Bericht gibt einftihrende Erliiuterungen zu den Handschriften und untersucht die These, dass fi.inf davon aus dem Quellenkomplex der Kathedrale von Salamanca stammen. Dieser wurde erst kiirzlich von James Boyce entdeckt und erforscht. Er lieferte damit einen grofSen Beitrag zum religirisen und intellektuellen Erbe des ,,Goldenen Zeitalters" in Spanien. Dieser Uberblick lenkt die Aufmerksamkeit der Wissenschaft auf die Sammlung in Sydney und markiert den momentanen Stand der Forschung sowie Planungen ftir die Znkrnft.
Music in the poetry competition held in Girona, 1622
Quadrivium, 2016
Poetry competitions usually formed part of the festivities celebrated on the occasion of a religious event, such as beatifications and canonizations. The poems, written in honour of the blessed, were sent previously and read aloud in public events which usually took place in ecclesiastical spaces with the attendance of crowds of people. This paper studies the presence of music in the poetry competitions, using as a case-study the joust celebrated at Sant Martí Jesuit College in Girona in 1622 in the context of the festivities of canonization of St Ignacio of Loyola and St Francisco Javier. The competition was commissioned by the patrons of the College, Martín and Leonor de Agullana, who covered the expenses of the music for the whole canonization ceremonial, and commissioned the publication of a report on the event (relacion) which was printed in Barcelona in 1623. In this poetry competition music acted not only as a sounding element, but also as a concept, since one of the sections of the joust was devoted to music. This provides details of the musical literacy in seventeenth-century Girona, as well as of the imbrication of music in urban culture.