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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)
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Selected New Titles from AIM
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MSD 55
Borderline
Areas in Fourteenth and Fifteenth-century Music
Grenzbereiche in der Musik des 14. und 15. Jahrhunderts.
Edited by
Karl Kügle and Lorenz Welker.
ISBN 978-1-59551-497-4 (2009) xii + 253 pp. $70.00
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This volume
unites eleven essays in four languages, selected among papers first
presented at the International Symposia in Late Medieval and
Renaissance Music held at Kloster Neustift/ Novacella, South Tyrol, in
1997 and 2000. Their common thread is the exploration of borders and
borderline areas in music of the fourteenth and early fifteenth
century. The authors, all acknowledged scholars in their field, hail
from countries and scholarly traditions as diverse as Israel, Greece,
Italy, Spain, Germany, Great Britain and the United States.
Christian
Berger explores the differentiation between French and Italian styles
in early fifteenth-century music, while Alice V. Clark probes the
musical patronage of a ‘black sheep’ in the house of Valois, Duke
Louis I of Anjou (1339–84). Francesco Facchin casts light on
music-related images from late medieval Padua. Maricarmen Gómez
examines a little-studied cantorale from Palma de Mallorca. Irmgard
Lerch-Kalavrytinos introduces a recently discovered fragment with Ars
Nova motets. Lucia Marchi’s contribution traces intersections between
music, devotion, and civic life in early Quattrocento Umbria. Jehoash
Hirshberg and Andrew Kirk-man investigate transitional zones between
oral composition and writing in settings from the Rossi codex (Hirshberg),
and form and content in the music of Binchois (Kirkman). The semantic
nodes between texts, musical settings and meanings are the subject of
Virginia Newes’s study on mimesis and imitation, whilst Elizabeth Eva
Leach maps out intertextualities between three polyphonic songs that
(re-)interpret the Roman de la Rose. Anne-Marie Treacy examines the
emotional use of song in Chaucer’s Book of the Duchess against the
models provided by the dits of Guillaume de Machaut.
The editors,
Karl Kügle and Lorenz Welker, are Professors of Musicology at Utrecht
and Munich Universities. Together, they organized the 1997 and 2000
symposia.
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MD 53 Musica
Disciplina v53 (2002-2008)
ISSN 0077-2461-53 (2009)
144 pp. $36.00
Contents:
- RANZINI, Paul
L., "Editorial Note"
Musica Disciplina 53 (2003-2008):4
- D'ACCONE, Frank,
"In Memoriam Gilbert Reaney,"
Musica Disciplina 53 (2003-2008):5
- JACKSON, Roland,
"Guillaume de Machaut and Dissonance in Fourteenth Century French
Music,"
Musica Disciplina 53
(2003-2008):7
- VAN DEUSEN,
Nancy, "In and Out of a Latin "Forest": The Timaeus Latinus,
Its Concept of Silva,
and Music as a Discipline
in the Middle Ages"
Musica Disciplina 53 (2003-2008):51
- JOSEPHSON, Nors
S., "Many Roads Lead to Rome: Multifarious Stylistic Tendencies and
Their
Musical
Interrelationships within the Ars Subtilior"
Musica Disciplina 53 (2003-2008):71
- HUCK, Oliver,
"The Music of the Angels in Fourteenth- and Early Fifteenth-Century
Music"
Musica Disciplina 53 (2003-2008):99
- CILIBERTI,
Galliano, "Protest Music a Perugia nel XVI secolo: Gli scritti
musicali di Raffaello
Sozi (1529-89)"
Musica Disciplina 53 (2003-2008):121
MISC 7
Quomodo cantabimus canticum? Studies in
Honor of Edward H. Roesner,
Edited by David Butler Cannata,
Gabriela Ilnitchi Currie, Rena Charnin Mueller,
and John Louis Nádas.
ISBN 978-1-59551-496-7 (2008) xii + 282 pp. $60.00
Edward Roesner forged a career in musicology that placed him at the
forefront of the discipline. This collection of thirteen essays entitled
Quomodo Cantabimus Canticum? taking its name from an important
motet text in the Roman de Fauvel, and written and edited by a
group of scholar friends and students, honors not only his rigorous
scholarship but also the breadth of his interest and learning. Starting
with Leofranc Holford-Strevens’ rationale of how Roesner, as Gustave
Reese’s protégée and successor, had no choice but to be a Medievalist,
Gabriela Ilnitchi Currie’s discussion of Eriugenian song, and Susan
Rankin’s exposé on the making of Carolingian chant books, the anthology
traverses a wide continuum of argument all of which underscores Roesner’s
particular interests—liturgy, chant, polyphony, authenticity, the
dissemination of texts and ideas over the centuries, and things
Parisian. Andreas Haug brings new perspectives to bear on Notker’s
Preface; and following Roesner’s interest in all aspects of the Medieval
and Renaissance eras, today’s leading scholars—Rebecca Baltzer, Margaret
Bent, Bonnie Blackburn, Susan Boynton, Michel Huglo, Karl Kügle, and
Joshua Rifkin—reexamine previously accepted notions of time and space,
terminology, and transmission within previously “explicit” texts and
tropes. The collection comes full circle with Linda Correll Roesner’s
discussion of a Clara Schumann letter (Reese’s wedding gift to the Roesner
couple), and a return to Paris with David Cannata’s investigation of
Messiaen as Thomistic Christologist. The editors were resolute that
Roesner provide his own bibliography! With every sentence, Quomodo
Cantabimus Canticum? Essays in Honor of Edward H. Roesner, a
compilation that can only begin to plumb Roesner’s facility and relentless
pursuit of precision in all areas of academic investigation, marvels “How
Can We Sing the Song?”
Hieronymous Praetorius,
Collected Vocal Works, edited by Frederick K. Gable.
Vol. 1: Opus musicum I: Not yet
published.
Vol. 2: Opus musicum II: Magnificats
and Five Motets.
CMM
110-2
978-1-59551-495-0
(2008)
xl + 268 pp.
$110.00
Contents and sample pages (PDF)
This edition was made possible with the generous support of the
ZEIT-Stiftung Ebelin und Gerd Bucerius, Hamburg, Germany.
Hieronymus
Praetorius (1560–1629) of Hamburg was a preeminent composer in north
Germany. His five-volume Opus musicum, originally published between
1599 and 1625, contains 100 Latin and German motets for five to twenty
voices (for one to four choirs), six Masses in five to eight parts, and
nine eight-part Magnificats. His vocal works display the beginnings of
Italian influences on north-German sacred music, especially through the
extensive exploitation of polychoral techniques, and exhibit an
imaginative blend of old and new styles in sacred music during the early
Baroque.
This new complete modern edition preserves the arrangement and contents
of the original prints. In addition to authoritative scores with continuo
parts, each volume includes historical commentary, style criticism and
analysis, text translations, performance alternatives, and critical notes.
The first volume to be released, Opus musicum
II, contains nine Magnificats for eight-part double choir and five
grand psalm motets for eight to twelve voices. The works belong to the
catholic and Protestant tradition of Magnificat sets in each of the
Canticle tones, usually providing only alternating verses in polyphony.
CMM 108-2
The Gonzaga Masses in
the Conservatory Library of Milan Fondo
Santa Barbara, vol. 2: Masses of Giovanni Giacomo Gastoldi,
Alessandro Striggio, Giacomo Castrati, and Giulio Bruschi.
Edited by Ottavio Beretta.
ISBN 978-1-59551-348-9 (2007) xviii+180 pp. $100.00
Guglielmo Gonzaga (1538-87) dedicated his life to transforming the duchy
of
Mantua into a model Catholic state. A munificent and dedicated patron of
composers and performers, author and champion of the grandiose
artistic-architectonic and liturgical-musical project of the ducal church
of
Santa Barbara, he was also a composer of sacred and secular polyphony and
a
theoretician of compositional methods. Among the surviving records are
liturgical books that contain the plainchants for the liturgy of the
basilica, chants that were presumably arranged to his specifications.
These
chants formed the basis of polyphonic compositions for Santa Barbara.
This third volume published in this series of masses from the Gonzaga
court
contains five masses in alternatim, one each by Giovanni Giacomo
Gastoldi
(1556-1622), Alessandro Striggio (1536/37-1592), and Giacomo Castrati
(16th
cent.), and a further two by Giulio Bruschi (active 1561-69). All are for
five voices and are edited following manuscript and print sources. For the
Gastoldi and Striggio masses, supplementary mass movements from
significant
secondary sources are also included.
Contents:
Giovanni Giacomo Gastoldi, Missa in Dominicis diebus
Alessandro Striggio, Missa in Dominicis diebus
Giacomo Castrati, Missa in Dominicis diebus
Giulio Bruschi, Missa in Festis duplicibus minoribus
Giulio Bruschi, Missa in Festis semiduplicibus minoribus
Also available: CMM 108-1, CMM 108-3
MISC
5-4
Vol.IV EMILIO DE' CAVALIERI,
Rappresentatione de anima, et di corpo (1600).
978-1-59551-346-5 xvii + 194 pp., 29 cm (2007)
$70.00
Cavalieri’s dramatic setting of
the Rappresentatione di Anima, et di Corpo is one of the most
important compositions in Western music. Produced in February 1600, in a
small room off the right transept of the church of Santa Maria in
Vallicella (Rome), Cavalieri called for costuming, staging, scenery,
dancing, recitatives, songs, and choruses for his little drama and wanted
it all to be sung throughout (except for an introductory dialogue).
Cavalieri, in short, composed our first opera, and in an introduction gave
invaluable and extensive information for producing such dramas, advice
that is as sound and valid for theatrical productions of today as it was
back in 1600. This new edition includes all of the music, as well as the
libretto with translation, and critical notes.
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