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Qui musicam in se habet

Qui musicam in se habet
Qui musicam in se habet
Studies in Honor of Alejandro Enrique Planchart
Edited by Anna Zayaruznaya, Bonnie J. Blackburn, Stanley Boorman
MISC009
Qui musicam in se habet
Book (2015)
978-1-59551-514-8
7x10, xxiv + 854 pp.

Availability: In stock

$130.00
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The dizzying erudition of Alejandro Enrique Planchart is reflected and celebrated in this collection of thirty-six essays offered to him by an international coterie of scholars. Mirroring the dedicatee’s broad interests, the contributions range from the sixth century to the twenty-first, encompassing Europe, Southeast Asia, and North America and exploring music and the people who wrote and performed it. Chant, its transmission, and reform—areas where Planchart’s work has been foundational—are treated in essays by Angelo Rusconi, Luisa Nardini, James Vincent Maiello, Deborah Kauffman, and Rebecca G. Marchand, while James Grier, Thomas Forrest Kelly, Michel Huglo, Barbara Haggh-Huglo, and William F. Prizer explore musical production linked to the cults of saints and confraternities. Renaissance polyphony—another field in which Planchart has been a pioneer—is explored from a range of angles, with Reinhard Strohm, Joshua Rifkin, and Alison Sanders McFarland investigating problems of attribution and the authority of composers. Evan A. MacCarthy, Margaret Bent, Jane Alden, David Fiala, Richard Sherr, and William John Summers afford insight into the the lives of singers, while Alexander Blachly, Agostino Ziino, Robert Nosow, and Jaap van Benthem elucidate the at times promiscuous lives of songs. Leofranc Holford-Strevens, Carolann Buff, and Michael K. Phelps provide generic and ceremonial contexts for the motets of Guillaume Du Fay and his contemporaries, and Kristine K. Forney, Alicia M. Doyle, David Fallows, Sean Gallagher, and Honey Meconi focus on the material traces of liturgical polyphony, songbooks, and motets. Rob C. Wegman, Emily Zazulia, and Bonnie J. Blackburn lend a personal and social frame to the reading of music theory, and Susan Rankin, Jesse Rodin, and Jonathan D. Bellman provide glimpses of the vitality and virtuosity that have undergirded musical and music-theoretical production in the last millennium. Musical offerings by Fabrice Fitch and Richard L. Crocker frame the collection, to which a list of the Publications, Compositions, and Recordings of Magister Alejandro serves as a cauda.
 
 
1. Introduction, Anna Zayaruznaya
2. Fanfare: Agricola IXa: Je nay dueil, Fabrice Fitch
 
I. Chant Transmitted and Reformed
3. The Old Milanese Hymn for Saint John the Baptist, Angelo Rusconi
4. The Masses for the Holy Cross in Some Italian Manuscripts, Luisa Nardini
5. Updating the Alleluia at Pistoia,. James Vincent Maiello
6. Guillaume-Gabriel Nivers’s Plain-chant musical Motets in the Repertory of the Maison Royale de Saint-Louis at Saint-Cyr, Deborah Kauffman
7. Missa Eclectica: Lou Harrison and Artistic Ideologies after Vatican II, Rebecca G. Marchand
 
II. Cults
8. The Tropes for Saint Androchius at the Abbeys of Saint Martial and Saint Martin in Limoges, James Grier
9. The Office of Saint Donatus at Benevento, Thomas Forrest Kelly
10. The Great Procession of St. Agatha in Florence and its Antiphon Paganorum multitudo, Michel Huglo† and Barbara Haggh-Huglo
11. Popular Piety in Renaissance Mantua: The Lauda and Flagellant Confraternities, William F. Prizer
 
III. The Lives of Singers
12. New Light on Recruiting Singers during the Papal Schism: A Letter from Pope Urban VI, Evan A. MacCarthy
13. Orfeo: Dominus Presbiter Orpheus de Padua, Margaret Bent
14. Dialogus de Johanne Sohier alias Fede, Jane Alden and David Fiala
15. Splendeurs et misères des suppliques: Breton Singers in the Papal Chapel in the Late Fifteenth and Early Sixteenth Centuries, Richard Sherr
16. Forty-Eight Nights at the Opera: La compañía lirica francesa in Manila in 1865, William John Summers
 
IV. The Lives of Songs
17. Apropos Ma fin est mon commencement and Tout par compas: Two Canonic Rondeaux from Reims, Alexander Blachly
18. Osservazioni sulla ballata polistrofica nella tradizione musicale del Trecento, Agostino Ziino
19. The Adventures of La belle se siet, Robert Nosow
20. Affection Unmasked? About the Misleading Transmission of a “Lost” Song by Johannes Tourout, Jaap van Benthem
 
V. Ceremonial Motets
21. The Latin Poetry of Johannes Ciconia and “Guilhermus,” Leofranc Holford-Strevens
22. The Italian Job: Ciconia, Du Fay, and the Musical Aesthetics of the Fifteenth-Century Italian Motet, Carolann Buff
23. The Pagan Virgin? Du Fay’s Salve Flos, a Second Consecration Motet for Santa Maria del Fiore, Michael K. Phelps
 
VI. Sources Reconstructed and Reconsidered
24. Maria Unbound: Reconstructing and Contextualizing the Antwerp Manuscript Fragments M6, Kristine K. Forney and Alicia M. Doyle
25. The Velvet Songbooks, David Fallows
26. Crispin van Stappen and Petrucci’s Motetti a cinque, Sean Gallagher
27. Alamire, Pierre de la Rue, and Manuscript Production in the Time of Charles V, Honey Meconi
 
VII. Attribution and Authority
28. The Status of a Du Fay Contrafactum, Reinhard Strohm
29. Sound and Structure: Le marteau sans maître and Mille regretz, Joshua Rifkin
30. Josquin as Authority in Morales’s Four-Voice Missa de Beata Virgine, Alison Sanders McFarland
 
VIII. Practicing Theory
31. The World according to Anonymous IV, Rob C. Wegman
32. Whatever You Do, Don’t Sing D: On the Notation of Obrecht’s Missa L’homme armé, Emily Zazulia
33. “Notes Secretly Fitted Together”: Theorists on Enigmatic Canons—and on Josquin’s Hercules Mass?, Bonnie J. Blackburn
 
IX. Music as Experience
34. Organa dulcisona docto modulamine compta: Rhetoric and Musical
Composition in the Winchester Organa, Susan Rankin
35. Peaks, Valleys, and Form in Ockeghem’s Sacred Music, Jesse Rodin
36. Gershwin at the Piano: Performance Practice Methodology and its Limits, Jonathan D. Bellman
37. Six Sets of Tropes from Nevers, Richard L. Crocker
 
Appendix
Publications, Compositions, and Recordings by Alejandro Enrique Planchart
Notes on Contributors
Index of Manuscripts
General Index
 
Volume Supplement: Audio Files
Medieval Chant
Six Sets of Tropes from Nevers
Sung by Richard Crocker
Transcription by Ellen Jane Reier
Mastered to CD by Derek Bianchi
© 2015 Richard Crocker, Emeritus Press, Berkeley, California.
For Puer natus est nobis (Christmas)
1. Ecce adest (mp3 file)
2. Deus pater (mp3 file)
3. Gaudeamus hodie (mp3 file)
4. Ad eterne salutis (mp3 file)
for Statuit ei (St. Silvester 31 January)
5. Splendificum (mp3 file)
6. Melliflui melodis (mp3 file)
 
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