Polyphonic theory and practice, as cultivated in Western Christian society until about 1600.
Gaining access through musical practices.
Thanks, Nora; I will include them in my online bibliography, and I will do the same with other publications shared here. Another one. This one is not strictly mine, but I am one of the advisors to this series, so here goes. The Narratologia series, published by de Gruyter, includes volumes on narratological theory and […]
Évora established itself in the sixteenth century as one of the most important Portuguese musical centres, maintaining that status until the 1820s Liberal Revolution. This activity was mostly centred in the Cathedral, although some other numerous religious institutions maintained a certain dynamic, which served as both a centre for musical practice during religious services and as a teaching institution – the so-called Claustra – which formed musicians for the Cathedral’s music chapel and local institutions and also for other Portuguese and foreign churches. Although we know the music of composers who studied at the Cathedral but developed their compositional activity in other institutions, not much is kown of the musical output of composers in Évora Cathedral during the last decades of the seventeenth century and early eighteenth century, which mostly survives in six choirbooks copied in the second half of the eighteenth century. This paper focuses on a group of five motets for the Sundays of Lent only extant at Évora Cathedral attributed to an Afonso Lobo. Although frequently attributed to the Spanish composer Alonso Lobo, these works have features that resemble more the music composition of earlier and later composers at the service of the Cathedral than of the Spanish composer. After careful examination of works by earlier seventeenth-century composers such as Diogo Dias Melgaz and Pedro Vaz Rego and later eighteenth-century composers such as André Roiz Lopo, António Ignacio Celestino, and Francisco José Perdigão, it is more likely that these works by Lobo were part of a local late tradition of writing a capella motets for the four Sundays of Lent, Passion Sunday that can be traced as far as to earlier seventeenth-century composers such as Estêvão Lopes Morago and Frei Manuel Cardoso.
Edition of composer Estêvão Lopes Morago’s motets for Advent “Erumpant montes”, “Montes Israel”, and “Laetentur caeli” (all for SSATB). Polyphony 5 ISMN 979-0-9007510-5-8 Work fully available at http://mpmp.pt/produto/polyphonia-5-estevao-lopes-morago-erumpant-montes-montes-israel-laetentur-caeli/
Several books containing polyphonic works by Giovanni Pierluigi da Palestrina were copied during the first half of the eighteenth century for use in the churches of Évora and Elvas, and the chapel of the Ducal Palace in Vila Viçosa. This was probably a consequence following the desire of the Portuguese King D. João V and the import of the so-called “Roman monumental style” for the religious musical institutions of Lisbon, a model that markedly influenced the composition of sacred music in Portugal during the eighteenth century. Together with works in concertato style, the Roman style was largely based on the return to old practices such as the writing and performance of vocal polyphony in the Palestrinian style, imitating the musical practices of the Capella Giulia in Rome. Besides the churches of Lisbon, most of the other Portuguese musical religious institutions adopted this practice. In the case of Alentejo we find several choirbooks copied for the ducal chapel in Vila Viçosa and the cathedrals of Évora and Elvas, where music of Palestrina coexisted with manuscripts and prints of other Portuguese (i.e. Manuel Cardoso, Duarte Lobo and Filipe de Magalhães) and Spanish (i.e. Juan Navarro, Juan Esquivel and Tomás Luis de Victoria) masters. Following the network of these musical centres with the Spanish counterparts – notably the Capilla Real in Madrid – this study will focus on the works of Palestrina extant in Évora, Elvas and Vila Viçosa and the links to a possible circulation network based in Madrid in the first half of the eighteenth century.
The polyphonic music of William Byrd (c. 1543–1623) poses significant challenges to analysts of early music. The category of ‘imitative’ polyphony, which suggests a mode of analysis that seeks to identify successive identical (or at least, very similar) entries of a clearly-defined subject, is ill-fitting. Byrd’s polyphony is varied and discursive. On occasion, no two entries in his polyphonic passages (or ‘points’) are identical, either rhythmically or melodically. Recent studies of Byrd and continental contemporaries have offered the term fuga to describe this flexible formal procedure. John Milsom has provided a lexicon for the analysis of fuga, which accounts for the variation processes which the fuga subject undergoes. These processes are referred to here as subject deformations. A brief summary of the analytical history of Byrd’s counterpoint in general, and of his consort music is provided. The most useful analytical terminologies and taxonomies are adopted for use in a quantitative model of fuga which tracks the amount subject deformation as it appears in successively deformed entries in Byrd’s points. A simple ‘subject deformation metric’ between pairs of entries is formally defined, and is used to describe both the amount and rate of deformation in Byrd’s points. Some improvements and graphical applications of the metric are described, and three model analyses of three- and four- part instrumental consort music are provided, to demonstrate the application of this new metric in the analysis of the music of Byrd.
Braga Cathedral has one of the most ancient rites (still in use) of the whole Europe. The so-called Braga Rite has vast musical repertoire associated. The text centers around the 16th-century musical practice, with plainchant from the Braga Gradual and polyphony from the Liber Introitus and late 16th-century music by the chapel masters of the Cathedral Pero de Gamboa and Lourenço Ribeiro.
Many in the library world and beyond are continuing to investigate the potential of Linked Data to enhance the experience of researchers and metadata creators. In this session, a leading figure in the field of knowledge organization will discuss a project to analyze terms used to classify scores in a database of Renaissance polyphony and map them to Linked Data vocabularies; a library metadata director will share recommendations from the PCC (Program for Cooperative Cataloging) for transforming existing library data by enhancing access points with URIs; and, a catalog librarian at an institution participating in the LD4P (Linked Data for Production) initiative will talk about a tool designed for inputting native Linked Data for a collection of LP records with historical significance in the development of hip hop.