The American Institute
   of Musicology
     

Published Series

Musica Disciplina
(MD)

Corpus Mensurabilis Musicae (CMM)

Corpus of Early Keyboard Music
(CEKM)

Renaissance Manuscript Studies
(RMS)

Musicological Studies and Documents
(MSD)

Corpus Scriptorum de Musica
(CSM)

Miscellanea
(MISC)

 

 

Selected New Titles from AIM

Alessandro Grandi, Opera Omnia, edited by Jeffrey Kurtzman, with Dennis Collins, Robert Kendrick, Steven Saunders, and John Whenham.

Alessandro Grandi (ca. 1586–1630) is best known as the first composer to use a form of the word “cantata” to describe a set of musical compositions (for his Cantade et arie, ca. 1618) and as Monteverdi’s vice-maestro di cappella at San Marco in Venice during the 1620s. Grandi’s Fourth Book of motets (1616), mainly smaller-scale pieces, contains works that can be linked to his two “academic” employers in Ferrara, the confraternity-academies of the Spirito Santo and the Morti. Like Grandi’s other prints, this book received multiple reprints, and some of its contents were copied as far away as north Germany and England. The present volume also contains major new biographical findings by Rodolfo Baroncini, and represents the first modern edition of most of the pieces.
The series of publications will be edited by an editorial team headed by Jeffrey Kurtzman, in collaboration with Dennis Collins, Robert Kendrick, Steven Saunders, and John Whenham.

Vol. 5. Il quatro libro de motetti a due, tre, quattro, et sette voci (1616),
edited by Dennis Collins and Robert Kendrick.

    CMM 112-5   978-1-59551-513-1   1st ed.   lvii + 71 pp.  36 cm     2015                 $129.00
Contents and sample pages (PDF)

CONTENTS:

Abbreviations            ix

Acknowledgements   x

 

The Composer Rodolfo Baroncini and Steven Saunders          xi

The Music and its Context Robert L. Kendrick   xxxv

            Placing an Edition     xxxv

            Norms and Special Cases     xxxix

            Impact and Reception           xliv

            Performance Practice           xlvi

Sources                      li

Editorial Methods     liii

Critical Report (with Texts and Translations)       lvii

 

Alessandro Grandi, Il quarto libro de motetti a due, tre, quattro, et sette voci (1616)

CMM 112-05, no. 1. Hæc est arbor dignissima           3

CMM 112-05, no. 2. Salvum me fac Domine   7

CMM 112-05, no. 3. O quam gloriosa facta es            10

CMM 112-05, no. 4. Bone Jesu verbum Patris           13

CMM 112-05, no. 5. Surge propera amica mea          16

CMM 112-05, no. 6. O crux ave spes unica     21

CMM 112-05, no. 7. Hic est præcursor dilectus         24

CMM 112-05, no. 8. Exulta et lætare terra     26

CMM 112-05, no. 9. O sacrum convivium       29

CMM 112-05, no. 10. Gloria Patri qui creavit nos        32

CMM 112-05, no. 11. Hymnum cantemus         34

CMM 112-05, no. 12. Hæc est virgo sapiens    39

CMM 112-05, no. 13. Deus qui nos in tantis periculis 43

CMM 112-05, no. 14. Plorabo die ac nocte       48

CMM 112-05, no. 15. Ave regina cælorum       54

CMM 112-05, no. 16. Diligam te Domine          59

CMM 112-05, no. 17. Factum est silentium      66

 

MISC 9      QUI MUSICAM IN SE HABET: STUDIES IN HONOR OF ALEJANDRO ENRIQUE PLANCHART

                       Edited by Anna Zayaruznaya, Bonnie J. Blackburn, & Stanley Boorman
ISBN 978-1-59551-514-8 (2015)  xxiv + 854 pp.    $130.00

Musica Disciplina, vol. 58 (2013)

     MD 58 MD Vol. LVIII 2013.  456 pp., (2013)  $80.00
                  ISSN: 0077-2461-58

                                CONTENTS:

                        Bevilacqua, Gregorio, "Conductus or Motet? A New Source and a Question of Genre"
          Musica Disciplina 58 (2013): 9
Duhamel, Pascale, "The Gothic Architecture of John of Garland’s De mensurabili musica"
          Musica Disciplina 58 (2013): 29
Everist, Mark, "Master and Disciple: Teaching the Composition of Polyphony in the
          Thirteenth Century" Musica Disciplina 58 (2013): 51
Grau, Anna Kathryn, "Hearing Voices: Heteroglossia, Homoglossia, and the Old French
           Motet" Musica Disciplina 58 (2013): 73
Guhl-Miller, Solomon, "Three Hypothetical Phases of Notre Dame Organum Performance
           Practice" Musica Disciplina 58 (2013): 101
Hamilton, Elina G., "Walter of Evesham and De speculatione musicae: Authority of Music
           Theory in Medieval England" Musica Disciplina 58 (2013): 153
Maschke, Eva M., "Porta Salutis Ave: Manuscript Culture, Material Culture, and Music"
           Musica Disciplina 58 (2013): 167
Planchart, Alejandro Enrique, "Proportion and Symbolism in Some Ars Antiqua Motets"
           Musica Disciplina 58 (2013): 231
Rillon-Marne, Anne-Zoé, "Notre Dame Conductus and the Renewal of Speech at the
           Turn of the 12th and 13th Centuries: The Sonorous Framing of the Congregation"
           Musica Disciplina 58 (2013): 265
Sabaino, Daniele, "The Repertoire of Parisian Conductus as a Case-Study in the Tonal
           Organization of Gothic Polyphony" Musica Disciplina 58 (2013): 287
Saint-Cricq, Gaël, "Transmitting a Compositional Process: Two Thirteenth-Century
           Motets" Musica Disciplina 58 (2013): 327
Saltzstein, Jennifer, "Ovid and the Thirteenth-Century Motet: Quotation, Reinterpretation,
           and Vernacular Hermeneutics" Musica Disciplina 58 (2013): 351
Williamson, Amy, "English Polyphonic Music around 1300: Genre and Repertory in
           Cambridge, Corpus Christi Ms 8" Musica Disciplina 58 (2013): 373
Wolinski, Mary E., "Hocketing and the Imperfect Modes in Relation to Poetic Expression
            in the Thirteenth Century" Musica Disciplina 58 (2013): 393
General Bibliography,  Musica Disciplina 58 (2013): 413

JEAN MOUTON (ca. 1459-1522), Opera omnia, edited by Andrew C. Minor and Thomas G. MacCracken.

CMM 43-5  Vol.V Missa Sine nomine I & II, Credo a 4, Magnificat et Cantiones.
                      978-1-59551-511-7
     1st ed.     ccxxxii + 281 pp.
                          35 cm
      2014                    
$199.00
                         
Contents and sample pages (PDF)
Jean Mouton is widely regarded as one of the most important composers contemporary with Josquin Des Prez. This volume contains two Masses discovered since Andrew C. Minor published thirteen such works to inaugurate the Complete Works edition, together with an independent Credo, nine Magnificats, and 25 chansons. Both Masses and six of the Magnificats appear in print here for the first time, while the chansons have never before been gathered together in one place. The extensive Critical Notes provide not only a complete collation of variants but also informative commentary on the sources, musical structure, and texts for each piece.

Contents

Acknowledgements                xi
Abbreviations          xii

Introduction            xiii
                Editorial Procedure: Music     xiii
                Editorial Procedure: Text        xiv
Critical Notes          xvii
                A. Music for the Mass Ordinary             xvii
                B. Magnificats        xxiii
                C. Chansons             lv
                D. Fragments and Works Probably by Other Composers        cxv
Appendix: Extant and Suggested Reconstructions of Cantus Firmi for Selected Compositions, 
                and Two Additional Polyphonic Fragments           cxxi

A. Music for the Mass Ordinary
                 1. Missa Sine nomine (I)       3
                 2. Missa Sine nomine (II)     39
                 3. Credo 65
B. Magnificats
                 4. Magnificat Primi toni, K. 936           81
                 5. Magnificat Primi toni, K. 937/943    94
                 6. Magnificat Primi toni, K. de-est       106
                 7. Magnificat Tertii toni, K. 942           114
                 8. Magnificat Quarti toni, K. 938          126
                 9. Magnificat Quarti toni, K. 939          132
                10. Magnificat Quarti toni, K. 1154        142
                11. Magnificat Quinti toni, K. 940/291  152
                12. Magnificat Sexti toni, K. 941            163
C. Chansons
                13. Adieu mes amours           185
                14. Ce que mon coeur pense  188
                15. De tous regretz 193
                16. Dieu gard de mal, de deshonneur    197
                17. Du bon du coeur, ma chere dame    200
                18. En venant de Lyon             204
                19. Jamais, jamais, jamais     206
                20. Jamais n’aymeray machon               211
                21. Je le laray puisqui’il my bat              213
                22. La, la, la, l’oysillon du boys               215
                23. La rousée du moys de may (I)          218
                24. La rousé du moys de may (II)           222
                25. Le berger et la bergere     228
                26. Le grant desir d’aymer my tient (I)  232
                27. Le grant desir d’aymer my tient (II) 235
                28. L’ort vilain jaloux              237
                29. Mais que ce fust le plaisir d’elle      241
                30. Prens ton con, grosse garsse noyre  243
                31. Qui ne regrettroit le gentil Fevin     245
                32. Resjouyssés vous, bourgoyses          247
                33. Ve le cy, ve le la, ma mere               251
                34. Vray Dieu d’amours          256
                35. Vray Dieu, qu’amoureux ont de peine              260
D. Fragments and Works Probably by Other Composers
                36. Magnificat Quarti toni, K. 1154, alternate settings of verses 4, 8, and 10     269
                37. Fecit potentiam Quinti toni, K. 945  273
                38. J’ay mys mon cuer (Tu sola es mater purissima)            275
                39. Je ne puis          276
                40. Payne trabel      277

Hieronymus Praetorius, Collected Vocal Works, edited by Frederick K. Gable.
Vol. 3: Opus musicum III: Six Masses.

   CMM 110-3              978-1-59551-510-0      1st ed.     li + 436 pp.
                          36 cm
      2014                    
$219.00
Contents and sample pages (PDF)

   The Liber misssarum  (Opus musicum III, 1618), contains six impressive settings of the Ordinary of the Mass for five, six, and eight voices. The double-choir masses are based on his own motets for Christmas, Easter, and St. Michael’s Day; a fourth mass on his “Benedicam Dominum” a 6; and two on motets by Stephano Felis and Jacob Meiland—all are included in the edition. Praetorius blends the older motet-style with the new concerto-style polychorality by his word declamation, short motives, repetition of sections, sequencing of  ideas, and varieties of choir exchange.
   All the masses exhibit imaginative reworking of the motet models and contain much newly composed music rather than simply adapting the mass text to the models. The six settings represent the last stage of complete polyphonic masses by German seventeenth-century composers (another set of five was published by Christoph Demantius in 1619).

CONTENTS
            Acknowledgments      ix
            Introduction     xi
            Sources and Editions   xix
            Editorial Methods        xxiii
            Critical Notes  xxvii
            Masses xxvii
            Motet Models  xxxvii
            Texts and Translations            xli
            Plates   xlv

MASSES
            Missa I. super Paratum cor meum à 5  3
            Missa II. super Benedicam Dominum à 6       54
            Missa III. super Non auferetur sceptrum à 6    112
            Missa IV. super Angelus ad pastores à 8         167
            Missa V. super Tulerunt Dominum meum à 8            227
            Missa VI. super Factum est silentium à 8        287

MODEL MOTETS
            1. Paratum cor meum, Stephano Felis 349
            2. Benedicam Dominum, Hieronymus Praetorius       356
            3. Non auferetur sceptrum, Jacob Meiland      368
            4. Angelus ad pastores, Hieronymus Praetorius          380
            5. Tulerunt Dominum meum, Hieronymus Praetorius 397
            6. Factum est silentium, Hieronymus Praetorius          418

 

CLAUDIN DE SERMISY (ca. 1490-1562), Opera omnia, edited by Gaston Allaire and Isabelle Cazeaux, complete in 7 volumes.
The 28 motets for 3–6 voices published in 1542 by the Parisian printer Attaingnant form the core of this last volume in the Sermisy Opera Omnia sub-series. Appearing here in a critical edition for the first time are several of Sermisy’s more famous motets, works that were widely reprinted in the sixteenth and seventeenth centuries. Equally noteworthy are Allaire’s comments on hexachordal transposition in these motets, which support his choices for musica ficta.

CMM 52-7  Vol.VII 28 Motets Published by Attaingnant in 1542.
978-1-59551-508-7
     1st ed.     xliv + 208 pp.
                          36 cm      2014                     $139.00
Contents and sample pages (PDF)

CONTENTS:

Preface                        ix
General Editor Preface         xvi
Examples of Hexachordal Analysis xviii
Sources                      xxi
Editorial Methods     xxvii
Critical Report           xxix
 
Motet with Six Voices
            1.         O Maria stans sub cruce       3
Motets with Five Voices
            2.         Regina caeli laetare  13
                        II. Resurrexit sicut dixit
            3. Quis est iste qui progreditur        20
                        II. Egredimini et videte filiae Sion  
            4. Quare fremuerunt gentes             29
                        II. Ego autem constitutus sum
                        III. Et nunc reges
Motets with Four Voices
            5. Verba mea 47
                        II. Adjuva me nequando miser audiam 
            6. Miserere mei, Domine      56
                        II. Miserere mei, Deus 
            7. Cantate Domino    68
                        II. Viderunt omnes termini terrae
                        III. Jubilate in conspectu regis Domini
            8. Domine Deus omnipotens            78
            9. Misericordias Domini        84
                        II. Universae viae tuae
                        III. Tribularer si nescirem
            10. Regi saeculorum I           97
            11. Nos qui vivimus  99
                        II. Super misericordia tua 
                        III. Similes illis fiant 
            12. Partus et integritas          117
            13. Astiterunt reges  119
                        II. Benedictus es Domine Deus 
            14. Audite reges         127
                        II. Inclinate aurem vestram ad illum 
            15. Gyrum caeli          135
                        II. Ego in altissimis habito 
            16. Aspice Domine     143
            17. Noe. Quem vidistis           148
                        II. Dicite, quidnam vidistis
            18. Alleluia. Angelus Domini             154
                        II. Et introeuntes in monumentum
            19. Veni, sancte spiritus        163
                        II. O lux beatissima
                        III. Lava, quod est sordidum
            20. Gaudent in caelis              172
                        II. O quam gloriosum est regnum
            21. Michael archangele          179
            22. Congratulamini mihi omnes       184
Motets with Three Voices
            23. Ave Sanctissima Maria    191
            24. Regi saeculorum II           194
                        II. Et beata viscera Mariae virginis
            25. Spes mea ab uberibus     197
            26. Euntes ibant et flebant    201
                        II. Tunc repletum est gaudio os nostrum
            27. Da pacem Domine           205
            28. Benedictum sit     207

 

JACQUET DE MANTUA (Jachet de Mantua) (1483-1559), Opera omnia, edited by Philip T. Jackson and George Nugent, complete in 7 volumes.
Jacquet (Jachet) de Mantua, active between Josquin and Palestrina, was considered a leading master of sacred polyphonic composition by his contemporaries, but he is also sometimes confused with Jacquet de Berchem.  This collection of the remaining 9 motets for 3 voices, 4 for 6 voices, 1 each for 7 and 8 voices from the first half 16th century form a smaller sub-repertoire of works that were not written in the dominant scoring at the time, that for 4 or 5 voices.

With the publication of this volume, the series is now complete with 7 volumes.

CMM 54-7  Vol.VII Motets for 3, 6, 7, & 8 Voices.
978-1-59551-507-0      1st ed.     xl + 111 pp.
                          35 cm
      2013                       $85.00
Contents and sample pages (PDF)

 

01/12/2016  

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