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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Renaissance music</h1><div class="u-tcGrayDark">16,877 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Renaissance music</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Renaissance_music">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Renaissance_music/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Renaissance_music/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Renaissance_music/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Renaissance_music">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45080642" data-work_id="45080642" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45080642/Fors_seullement_vocum_quinque_%C3%96NB_Mus_HS_18746_Laura_D%C3%BCmpelmann_Kunstuni_Graz">Fors seullement, vocum quinque - ÖNB Mus. HS. 18746. Laura Dümpelmann, Kunstuni Graz</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45080642" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.<br /> <br />(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) </div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45080642" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c289fbab3b74107a81a252db71e0b9ea" rel="nofollow" data-download="{"attachment_id":65639212,"asset_id":45080642,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65639212/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="125433884" href="https://kug.academia.edu/LauraD%C3%BCmpelmann">Laura Dümpelmann</a><script data-card-contents-for-user="125433884" type="text/json">{"id":125433884,"first_name":"Laura","last_name":"Dümpelmann","domain_name":"kug","page_name":"LauraDümpelmann","display_name":"Laura Dümpelmann","profile_url":"https://kug.academia.edu/LauraD%C3%BCmpelmann?f_ri=17547","photo":"https://0.academia-photos.com/125433884/31866304/29061176/s65_laura.d_mpelmann.jpg"}</script></span></span></li><li class="js-paper-rank-work_45080642 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45080642"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45080642, container: ".js-paper-rank-work_45080642", }); });</script></li><li class="js-percentile-work_45080642 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45080642; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_45080642"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_45080642 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="45080642"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45080642; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45080642]").text(description); $(".js-view-count-work_45080642").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45080642").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45080642"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2366" rel="nofollow" href="https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books">Manuscripts and Early Printed Books</a>, <script data-card-contents-for-ri="2366" type="text/json">{"id":2366,"name":"Manuscripts and Early Printed Books","url":"https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14871" rel="nofollow" href="https://www.academia.edu/Documents/in/Johannes_Ockeghem">Johannes Ockeghem</a>, <script data-card-contents-for-ri="14871" type="text/json">{"id":14871,"name":"Johannes Ockeghem","url":"https://www.academia.edu/Documents/in/Johannes_Ockeghem?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="15841" rel="nofollow" href="https://www.academia.edu/Documents/in/16th_Century_Counterpoint">16th Century Counterpoint</a>, <script data-card-contents-for-ri="15841" type="text/json">{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45080642]'), work: {"id":45080642,"title":"Fors seullement, vocum quinque - ÖNB Mus. HS. 18746. Laura Dümpelmann, Kunstuni Graz","created_at":"2021-02-08T13:03:41.101-08:00","url":"https://www.academia.edu/45080642/Fors_seullement_vocum_quinque_%C3%96NB_Mus_HS_18746_Laura_D%C3%BCmpelmann_Kunstuni_Graz?f_ri=17547","dom_id":"work_45080642","summary":"Die Handschrift Hs. Mus. 18746 in 5 Stimmbüchern, datiert 1523 und heute in der Österreichischen Nationalbibliothek, ist die früheste aktuell bekannte Sammlung ausschließlich 5 - stimmiger weltlicher Musik, dennoch relativ unbeachtet. Unter den 56 Kompositionen befindet sich eine signifikant große Anzahl an Wiederbearbeitungen ursprünglich 3 - stimmiger Chansons (Art - Song - Reworkings). Wiederum unter diesen fallen die 7 Bearbeitungen von “Fors seullement” am Ende der Handschrift auf. Ziel der Arbeit ist ein tiefer gehendes Verständnis der Kompositionsweise dieser Stücke. Dafür werden Techniken für die Entstehung von Art - Song - Reworkings erklärt und anhand von Gioseffo Zarlinos “Institutii Harmoniche” (1558) Kriterien für die Stücke, insbesondere für Komposition mit 5 und mehr Stimmen, erarbeitet. Darauf basieren die folgenden Analysen der Stücke, hauptsächlich nach Kadenzen, Modi, cantus firmus - Behandlung und Imitation. Die 7 Kompositionen sind sehr vielfältig und befinden sich auch nach der Analyse nicht eindeutig zuzuordnen im Spannungsfeld zwischen der im 15. Jahrhundert aufblühenden Praxis Chansons zu bearbeiten und einer moderneren Kompositionsweise, die in Theorie und Praxis ab der Mitte des 16. Jahrhunderts zu finden ist.\n \n(incl. Transkriptionen in Partiturform und korrigierten Facsimiles) ","downloadable_attachments":[{"id":65639212,"asset_id":45080642,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":125433884,"first_name":"Laura","last_name":"Dümpelmann","domain_name":"kug","page_name":"LauraDümpelmann","display_name":"Laura Dümpelmann","profile_url":"https://kug.academia.edu/LauraD%C3%BCmpelmann?f_ri=17547","photo":"https://0.academia-photos.com/125433884/31866304/29061176/s65_laura.d_mpelmann.jpg"}],"research_interests":[{"id":2366,"name":"Manuscripts and Early Printed Books","url":"https://www.academia.edu/Documents/in/Manuscripts_and_Early_Printed_Books?f_ri=17547","nofollow":true},{"id":14871,"name":"Johannes Ockeghem","url":"https://www.academia.edu/Documents/in/Johannes_Ockeghem?f_ri=17547","nofollow":true},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=17547"},{"id":22842,"name":"14th-16th Centuries Counterpoint","url":"https://www.academia.edu/Documents/in/14th-16th_Centuries_Counterpoint?f_ri=17547"},{"id":48389,"name":"Gioseffo Zarlino","url":"https://www.academia.edu/Documents/in/Gioseffo_Zarlino?f_ri=17547"},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=17547"},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=17547"},{"id":915354,"name":"Petrus Alamire","url":"https://www.academia.edu/Documents/in/Petrus_Alamire?f_ri=17547"},{"id":915360,"name":"Pierre De La Rue","url":"https://www.academia.edu/Documents/in/Pierre_De_La_Rue?f_ri=17547"},{"id":915963,"name":"Fugger Family","url":"https://www.academia.edu/Documents/in/Fugger_Family?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_46947236" data-work_id="46947236" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/46947236/Silvestro_Ganassi_and_Pietro_Aretinos_Talking_Cards_a_New_Reference_on_the_Fontegaras_Author">Silvestro Ganassi and Pietro Aretino's Talking Cards: a New Reference on the Fontegara's Author</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper brings to light and comments on a quotation still little discussed in the biographies of Silvestro Ganassi dal Fontego (1492-c. 1572), author of three fundamental works for 16th century music studies: Opera Intitulata Fontegara... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_46947236" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper brings to light and comments on a quotation still little discussed in the biographies of Silvestro Ganassi dal Fontego (1492-c. 1572), author of three fundamental works for 16th century music studies: Opera Intitulata Fontegara (1535), dedicated to the recorder and the art of diminution, Regola Rubertina (1542) and Lettione Seconda (1543), dedicated to the viola da gamba. The quotation in question is found in Dialogo di Pietro Aretino nel qvale si parla del gioco con moralità piacevole, published in Venice in 1543 and later known under the title Le carte parlanti. This book is a defense of the use of cards as a recreation activity, but also presents a catalog of human typologies. It culminates in the elaboration of the perfect player, a rhetorical exercise very dear to the Renaissance. This new reference reminds us of and amplifies the understanding of another one, present in the Dialogo della Pittura intitolato l'Aretino (1557), by Lodovico Dolce. This paper's scope is to briefly analyze and contextualize the presence of Silvestro Ganassi inside Aretino's dialogue.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/46947236" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c3c891c51a6a98252d68aebc2266a2be" rel="nofollow" data-download="{"attachment_id":66302172,"asset_id":46947236,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66302172/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5185728" href="https://unicamp.academia.edu/GiuliaTettamanti">Giulia Tettamanti</a><script data-card-contents-for-user="5185728" type="text/json">{"id":5185728,"first_name":"Giulia","last_name":"Tettamanti","domain_name":"unicamp","page_name":"GiuliaTettamanti","display_name":"Giulia Tettamanti","profile_url":"https://unicamp.academia.edu/GiuliaTettamanti?f_ri=17547","photo":"https://0.academia-photos.com/5185728/2284488/2668336/s65_giulia.tettamanti.jpg"}</script></span></span></li><li class="js-paper-rank-work_46947236 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="46947236"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 46947236, container: ".js-paper-rank-work_46947236", }); 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$(".js-view-count[data-work-id=46947236]").text(description); $(".js-view-count-work_46947236").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_46947236").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="46947236"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3144" rel="nofollow" href="https://www.academia.edu/Documents/in/Literature_and_Music">Literature and Music</a>, <script data-card-contents-for-ri="3144" type="text/json">{"id":3144,"name":"Literature and Music","url":"https://www.academia.edu/Documents/in/Literature_and_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1199741" rel="nofollow" href="https://www.academia.edu/Documents/in/Venetian_Renaissance_Music">Venetian Renaissance Music</a><script data-card-contents-for-ri="1199741" type="text/json">{"id":1199741,"name":"Venetian Renaissance Music","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_Music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=46947236]'), work: {"id":46947236,"title":"Silvestro Ganassi and Pietro Aretino's Talking Cards: a New Reference on the Fontegara's Author","created_at":"2021-04-19T10:20:28.636-07:00","url":"https://www.academia.edu/46947236/Silvestro_Ganassi_and_Pietro_Aretinos_Talking_Cards_a_New_Reference_on_the_Fontegaras_Author?f_ri=17547","dom_id":"work_46947236","summary":"This paper brings to light and comments on a quotation still little discussed in the biographies of Silvestro Ganassi dal Fontego (1492-c. 1572), author of three fundamental works for 16th century music studies: Opera Intitulata Fontegara (1535), dedicated to the recorder and the art of diminution, Regola Rubertina (1542) and Lettione Seconda (1543), dedicated to the viola da gamba. The quotation in question is found in Dialogo di Pietro Aretino nel qvale si parla del gioco con moralità piacevole, published in Venice in 1543 and later known under the title Le carte parlanti. This book is a defense of the use of cards as a recreation activity, but also presents a catalog of human typologies. It culminates in the elaboration of the perfect player, a rhetorical exercise very dear to the Renaissance. This new reference reminds us of and amplifies the understanding of another one, present in the Dialogo della Pittura intitolato l'Aretino (1557), by Lodovico Dolce. This paper's scope is to briefly analyze and contextualize the presence of Silvestro Ganassi inside Aretino's dialogue.","downloadable_attachments":[{"id":66302172,"asset_id":46947236,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5185728,"first_name":"Giulia","last_name":"Tettamanti","domain_name":"unicamp","page_name":"GiuliaTettamanti","display_name":"Giulia Tettamanti","profile_url":"https://unicamp.academia.edu/GiuliaTettamanti?f_ri=17547","photo":"https://0.academia-photos.com/5185728/2284488/2668336/s65_giulia.tettamanti.jpg"}],"research_interests":[{"id":3144,"name":"Literature and Music","url":"https://www.academia.edu/Documents/in/Literature_and_Music?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":1199741,"name":"Venetian Renaissance Music","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_Music?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63608978" data-work_id="63608978" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/63608978/Turning_the_tables_reassessing_tablature">Turning the tables: reassessing tablature</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper was read at the 2021 annual conference of the Musicological Society of Australia. It is drawn from my forthcoming book, edited with David Dolata and Philippe Vendrix: "Tablature: Alternate notations 1350-1750" to be published... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_63608978" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper was read at the 2021 annual conference of the Musicological Society of Australia. It is drawn from my forthcoming book, edited with David Dolata and Philippe Vendrix: "Tablature: Alternate notations 1350-1750" to be published by Brepols. It presents a new vision of tablature and its role in Western culture resulting from a ten-year study of tablatures, 1350-1750. The surviving repertoire of more than 70,000 works for more than forty instruments, including human voice, is preserved in a variety of notations that are alternatives to conventional mensural notation. We examined all kinds of tablatures, from the widely accepted mainstream forms to the more idiosyncratic and experimental varieties that gained little traction in the real world of musical practice. On the notational side, this paper explores the nature of tablature, the essence of its graphic system, the commonalities between systems and the contemporary challenges to renewing the associated terminology. From another perspective, it considers the marginalisation of tablature music in our cultural heritage, and the attendant historiographical deficiencies that result from the near-total exclusion of the repertoire from musicological thinking. Tablature can be revealed as more than a simple notation for "playing by numbers,” instead an alternative way of thinking about music and transmitting it. Tablature fulfilled special and necessary functions, not only as the first viable system of score notation, but also permitting the expression of dimensions of performance-related information that were impossible in conventional notation. In the sixteenth and seventeenth centuries, tablature was a mainstream notation, essential to the social fabric of music, and important whether in their broader use as conducting scores, or in facilitating the popular transmission of elite repertoires.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63608978" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="eb322ea60a52bc4167c567887986d476" rel="nofollow" data-download="{"attachment_id":75982073,"asset_id":63608978,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/75982073/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="870239" href="https://unimelb.academia.edu/JohnGriffiths">John Griffiths</a><script data-card-contents-for-user="870239" type="text/json">{"id":870239,"first_name":"John","last_name":"Griffiths","domain_name":"unimelb","page_name":"JohnGriffiths","display_name":"John Griffiths","profile_url":"https://unimelb.academia.edu/JohnGriffiths?f_ri=17547","photo":"https://0.academia-photos.com/870239/313330/161840353/s65_john.griffiths.jpeg"}</script></span></span></li><li class="js-paper-rank-work_63608978 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63608978"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63608978, container: ".js-paper-rank-work_63608978", }); });</script></li><li class="js-percentile-work_63608978 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63608978; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_63608978"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_63608978 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="63608978"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63608978; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63608978]").text(description); $(".js-view-count-work_63608978").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_63608978").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="63608978"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" rel="nofollow" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16387" rel="nofollow" href="https://www.academia.edu/Documents/in/Notation_Music_">Notation (Music)</a>, <script data-card-contents-for-ri="16387" type="text/json">{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=63608978]'), work: {"id":63608978,"title":"Turning the tables: reassessing tablature","created_at":"2021-12-08T20:35:46.979-08:00","url":"https://www.academia.edu/63608978/Turning_the_tables_reassessing_tablature?f_ri=17547","dom_id":"work_63608978","summary":"This paper was read at the 2021 annual conference of the Musicological Society of Australia. It is drawn from my forthcoming book, edited with David Dolata and Philippe Vendrix: \"Tablature: Alternate notations 1350-1750\" to be published by Brepols. It presents a new vision of tablature and its role in Western culture resulting from a ten-year study of tablatures, 1350-1750. The surviving repertoire of more than 70,000 works for more than forty instruments, including human voice, is preserved in a variety of notations that are alternatives to conventional mensural notation. We examined all kinds of tablatures, from the widely accepted mainstream forms to the more idiosyncratic and experimental varieties that gained little traction in the real world of musical practice. On the notational side, this paper explores the nature of tablature, the essence of its graphic system, the commonalities between systems and the contemporary challenges to renewing the associated terminology. From another perspective, it considers the marginalisation of tablature music in our cultural heritage, and the attendant historiographical deficiencies that result from the near-total exclusion of the repertoire from musicological thinking. Tablature can be revealed as more than a simple notation for \"playing by numbers,” instead an alternative way of thinking about music and transmitting it. Tablature fulfilled special and necessary functions, not only as the first viable system of score notation, but also permitting the expression of dimensions of performance-related information that were impossible in conventional notation. In the sixteenth and seventeenth centuries, tablature was a mainstream notation, essential to the social fabric of music, and important whether in their broader use as conducting scores, or in facilitating the popular transmission of elite repertoires.","downloadable_attachments":[{"id":75982073,"asset_id":63608978,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":870239,"first_name":"John","last_name":"Griffiths","domain_name":"unimelb","page_name":"JohnGriffiths","display_name":"John Griffiths","profile_url":"https://unimelb.academia.edu/JohnGriffiths?f_ri=17547","photo":"https://0.academia-photos.com/870239/313330/161840353/s65_john.griffiths.jpeg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=17547","nofollow":true},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true},{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":64536,"name":"Lute Music","url":"https://www.academia.edu/Documents/in/Lute_Music?f_ri=17547"},{"id":476515,"name":"Tablature","url":"https://www.academia.edu/Documents/in/Tablature?f_ri=17547"},{"id":1815052,"name":"Guitar Tablature","url":"https://www.academia.edu/Documents/in/Guitar_Tablature?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_77853733" data-work_id="77853733" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77853733/The_Bassanos_at_the_Court_of_Henry_VIII_A_Story_of_Cooperation_and_Protection">The Bassanos at the Court of Henry VIII: A Story of Cooperation and Protection</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Jewish community had been expelled from England in 1290 and was not readmitted until 1606, yet in the 1520s and 1530s Henry VIII initiated two important cultural exchanges with Venetian Jews. The first, Henry VIII’s consultation of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_77853733" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Jewish community had been expelled from England in 1290 and was not readmitted until 1606, yet in the 1520s and 1530s Henry VIII initiated two important cultural exchanges with Venetian Jews. The first, Henry VIII’s consultation of Venetian rabbis about his divorce from Catherine of Aragon, is well known. The second was his invitation to the Venetian Jewish wind-instrument family, the Bassanos, to join his court in the 1530s. While the details of the event have been explored by scholars such as Roger Prior, David Lasocki, and Alessio Ruffatti, I propose that its significance has yet to be fully understood in its religious, political, cultural, and musical context. <br /> <br />In this paper, I consider the Bassanos’s move to England through the lens of an intriguing story of Jewish-Christian interfaith friendship in John Foxe’s Acts and Monuments, also known as the Book of Martyrs (1563). Stories of Jews are few and far between in Foxe’s compendium; stories that both encourage interfaith friendship and do not malign the Jew are all the more unusual. The story, which takes place in England in 1539, follows a Jewish child and a Christian child, “playfellow[s],” into a church and up to the altar. Set against the backdrop of transubstantiation, which, I argue, functions as an allegory for the Bassanos’ creative process, this story becomes a parable for the relationship between Henry VIII and the Bassanos, illuminating the musical, political, and religious significance of their partnership. Henry VIII, despite all his vain excesses, is identified with the Virgin Mary herself for his cultivation and protection of the arts and its creators. What kind of message could Henry VIII have sent by sidestepping religious differences and protocol in his desire to elevate the musical aspect of the court? Could his patronage of the Bassanos have been received as a message of tolerance, even if a self-serving one? I will analyze the story according to three senses of biblical exegesis—historical (literal), tropological (moral), and allegorical—in order to demonstrate how Foxe’s story became a parable for Henry VIII and the Bassanos.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77853733" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="93caec4abe53fea7cf4d9be284e1608b" rel="nofollow" data-download="{"attachment_id":86062921,"asset_id":77853733,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/86062921/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65163954" href="https://independent.academia.edu/DongmyungAhn">Dongmyung Ahn</a><script data-card-contents-for-user="65163954" type="text/json">{"id":65163954,"first_name":"Dongmyung","last_name":"Ahn","domain_name":"independent","page_name":"DongmyungAhn","display_name":"Dongmyung Ahn","profile_url":"https://independent.academia.edu/DongmyungAhn?f_ri=17547","photo":"https://0.academia-photos.com/65163954/175294051/165333740/s65_dongmyung.ahn.png"}</script></span></span></li><li class="js-paper-rank-work_77853733 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77853733"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77853733, container: ".js-paper-rank-work_77853733", }); });</script></li><li class="js-percentile-work_77853733 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77853733; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_77853733"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_77853733 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="77853733"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77853733; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77853733]").text(description); $(".js-view-count-work_77853733").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_77853733").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="77853733"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10947" rel="nofollow" href="https://www.academia.edu/Documents/in/Jewish_-_Christian_Relations">Jewish - Christian Relations</a>, <script data-card-contents-for-ri="10947" type="text/json">{"id":10947,"name":"Jewish - Christian Relations","url":"https://www.academia.edu/Documents/in/Jewish_-_Christian_Relations?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="58768" rel="nofollow" href="https://www.academia.edu/Documents/in/English_Musical_Renaissance">English Musical Renaissance</a><script data-card-contents-for-ri="58768" type="text/json">{"id":58768,"name":"English Musical Renaissance","url":"https://www.academia.edu/Documents/in/English_Musical_Renaissance?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77853733]'), work: {"id":77853733,"title":"The Bassanos at the Court of Henry VIII: A Story of Cooperation and Protection","created_at":"2022-04-28T02:59:33.537-07:00","url":"https://www.academia.edu/77853733/The_Bassanos_at_the_Court_of_Henry_VIII_A_Story_of_Cooperation_and_Protection?f_ri=17547","dom_id":"work_77853733","summary":"The Jewish community had been expelled from England in 1290 and was not readmitted until 1606, yet in the 1520s and 1530s Henry VIII initiated two important cultural exchanges with Venetian Jews. The first, Henry VIII’s consultation of Venetian rabbis about his divorce from Catherine of Aragon, is well known. The second was his invitation to the Venetian Jewish wind-instrument family, the Bassanos, to join his court in the 1530s. While the details of the event have been explored by scholars such as Roger Prior, David Lasocki, and Alessio Ruffatti, I propose that its significance has yet to be fully understood in its religious, political, cultural, and musical context. \r\n\r\nIn this paper, I consider the Bassanos’s move to England through the lens of an intriguing story of Jewish-Christian interfaith friendship in John Foxe’s Acts and Monuments, also known as the Book of Martyrs (1563). Stories of Jews are few and far between in Foxe’s compendium; stories that both encourage interfaith friendship and do not malign the Jew are all the more unusual. The story, which takes place in England in 1539, follows a Jewish child and a Christian child, “playfellow[s],” into a church and up to the altar. Set against the backdrop of transubstantiation, which, I argue, functions as an allegory for the Bassanos’ creative process, this story becomes a parable for the relationship between Henry VIII and the Bassanos, illuminating the musical, political, and religious significance of their partnership. Henry VIII, despite all his vain excesses, is identified with the Virgin Mary herself for his cultivation and protection of the arts and its creators. What kind of message could Henry VIII have sent by sidestepping religious differences and protocol in his desire to elevate the musical aspect of the court? Could his patronage of the Bassanos have been received as a message of tolerance, even if a self-serving one? I will analyze the story according to three senses of biblical exegesis—historical (literal), tropological (moral), and allegorical—in order to demonstrate how Foxe’s story became a parable for Henry VIII and the Bassanos.\r\n","downloadable_attachments":[{"id":86062921,"asset_id":77853733,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65163954,"first_name":"Dongmyung","last_name":"Ahn","domain_name":"independent","page_name":"DongmyungAhn","display_name":"Dongmyung Ahn","profile_url":"https://independent.academia.edu/DongmyungAhn?f_ri=17547","photo":"https://0.academia-photos.com/65163954/175294051/165333740/s65_dongmyung.ahn.png"}],"research_interests":[{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":10947,"name":"Jewish - Christian Relations","url":"https://www.academia.edu/Documents/in/Jewish_-_Christian_Relations?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":58768,"name":"English Musical Renaissance","url":"https://www.academia.edu/Documents/in/English_Musical_Renaissance?f_ri=17547","nofollow":true},{"id":80324,"name":"Henry VIII","url":"https://www.academia.edu/Documents/in/Henry_VIII?f_ri=17547"},{"id":1199741,"name":"Venetian Renaissance Music","url":"https://www.academia.edu/Documents/in/Venetian_Renaissance_Music?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39727413 coauthored" data-work_id="39727413" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39727413/The_songbooks_of_Peter_Sch%C3%B6ffer_the_Younger_and_Arnt_von_Aich_a_typographical_assessment">The songbooks of Peter Schöffer the Younger and Arnt von Aich: a typographical assessment</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In this paper we argue that the song book printed by Arnt von Aich probably during the second decade of the sixteenth century, an important source for early sixteenth-century German song, is a woodcut facsimile of at least two lost... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39727413" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In this paper we argue that the song book printed by Arnt von Aich probably during the second decade of the sixteenth century, an important source for early sixteenth-century German song, is a woodcut facsimile of at least two lost originals printed from movable type by Peter Schöffer the Younger. Many details in Arnt’s woodcut show a clear dependence on Schöffer’s typographical habits. However, the presence of features not evident in Schöffer’s surviving song books suggests that the originals copied by Arnt predated Schöffer’s extant Lied collections. Furthermore, Arnt’s book seems to provide important evidence of an element of experimentation in Schöffer’s typographical technique which was already resolved by the time he printed the collections that now survive.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39727413" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5dc6bde5effa4b827e376ab1f4c8d74e" rel="nofollow" data-download="{"attachment_id":59904494,"asset_id":39727413,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59904494/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8312206" href="https://univie.academia.edu/GrantleyMcDonald">Grantley McDonald</a><script data-card-contents-for-user="8312206" type="text/json">{"id":8312206,"first_name":"Grantley","last_name":"McDonald","domain_name":"univie","page_name":"GrantleyMcDonald","display_name":"Grantley McDonald","profile_url":"https://univie.academia.edu/GrantleyMcDonald?f_ri=17547","photo":"https://0.academia-photos.com/8312206/8978082/18171481/s65_grantley.mcdonald.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-39727413">+1</span><div class="hidden js-additional-users-39727413"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://uppsala.academia.edu/SannaRaninen">Sanna Raninen</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-39727413'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-39727413').html(); 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Many details in Arnt’s woodcut show a clear dependence on Schöffer’s typographical habits. However, the presence of features not evident in Schöffer’s surviving song books suggests that the originals copied by Arnt predated Schöffer’s extant Lied collections. Furthermore, Arnt’s book seems to provide important evidence of an element of experimentation in Schöffer’s typographical technique which was already resolved by the time he printed the collections that now survive.","downloadable_attachments":[{"id":59904494,"asset_id":39727413,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8312206,"first_name":"Grantley","last_name":"McDonald","domain_name":"univie","page_name":"GrantleyMcDonald","display_name":"Grantley McDonald","profile_url":"https://univie.academia.edu/GrantleyMcDonald?f_ri=17547","photo":"https://0.academia-photos.com/8312206/8978082/18171481/s65_grantley.mcdonald.jpg"},{"id":54773351,"first_name":"Sanna","last_name":"Raninen","domain_name":"uppsala","page_name":"SannaRaninen","display_name":"Sanna Raninen","profile_url":"https://uppsala.academia.edu/SannaRaninen?f_ri=17547","photo":"https://0.academia-photos.com/54773351/14442238/15344292/s65_sanna.raninen.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true},{"id":1727,"name":"Early Modern History","url":"https://www.academia.edu/Documents/in/Early_Modern_History?f_ri=17547","nofollow":true},{"id":1729,"name":"German History","url":"https://www.academia.edu/Documents/in/German_History?f_ri=17547","nofollow":true},{"id":2340,"name":"Book History","url":"https://www.academia.edu/Documents/in/Book_History?f_ri=17547","nofollow":true},{"id":2811,"name":"History of the Book","url":"https://www.academia.edu/Documents/in/History_of_the_Book?f_ri=17547"},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547"},{"id":3027,"name":"Renaissance Humanism","url":"https://www.academia.edu/Documents/in/Renaissance_Humanism?f_ri=17547"},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=17547"},{"id":17486,"name":"Printing History","url":"https://www.academia.edu/Documents/in/Printing_History?f_ri=17547"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547"},{"id":20432,"name":"Book History (History)","url":"https://www.academia.edu/Documents/in/Book_History_History_?f_ri=17547"},{"id":26460,"name":"Medieval and Renaissance Studies","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Studies?f_ri=17547"},{"id":29888,"name":"History of Publishing","url":"https://www.academia.edu/Documents/in/History_of_Publishing?f_ri=17547"},{"id":48060,"name":"History of Printmaking","url":"https://www.academia.edu/Documents/in/History_of_Printmaking?f_ri=17547"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=17547"},{"id":179972,"name":"History of the printing press","url":"https://www.academia.edu/Documents/in/History_of_the_printing_press?f_ri=17547"},{"id":274172,"name":"Printing Technology","url":"https://www.academia.edu/Documents/in/Printing_Technology?f_ri=17547"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=17547"},{"id":429524,"name":"History of Books, Printing, and Publishing","url":"https://www.academia.edu/Documents/in/History_of_Books_Printing_and_Publishing?f_ri=17547"},{"id":518695,"name":"music printing, early modern Germany, history of the book","url":"https://www.academia.edu/Documents/in/music_printing_early_modern_Germany_history_of_the_book?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30442455 coauthored" data-work_id="30442455" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/30442455/With_Deborah_Howard_Sound_and_Space_in_Renaissance_Venice_Architecture_Music_Acoustics_New_Haven_and_London_Yale_University_Press_2009">With Deborah Howard, Sound and Space in Renaissance Venice. Architecture, Music Acoustics, New Haven & London: Yale University Press, 2009</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30442455" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0fbb8bc796d037fcafce2ad6d2237fe6" rel="nofollow" data-download="{"attachment_id":50889041,"asset_id":30442455,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50889041/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2580264" href="https://st-andrews.academia.edu/LauraMoretti">Laura Moretti</a><script data-card-contents-for-user="2580264" type="text/json">{"id":2580264,"first_name":"Laura","last_name":"Moretti","domain_name":"st-andrews","page_name":"LauraMoretti","display_name":"Laura Moretti","profile_url":"https://st-andrews.academia.edu/LauraMoretti?f_ri=17547","photo":"https://0.academia-photos.com/2580264/809177/15885949/s65_laura.moretti.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-30442455">+1</span><div class="hidden js-additional-users-30442455"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://cambridge.academia.edu/DeborahHoward">Deborah Howard</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30442455'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30442455').html(); 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href="https://www.academia.edu/41603793/Vicentino21_Digitale_Edition_mit_%C3%9Cbersetzung_Kommentar_und_praktischer_Erkundung_von_Nicola_Vicentinos_L_antica_musica_ridotta_alla_moderna_prattica_Rom_1555_Schola_Cantorum_Basiliensis_Fachhochschule_Nordwestschweiz_FHNW_funded_by_the_Swiss_National_Science_Foundation_2020_2023">Vicentino21 – Digitale Edition mit Übersetzung, Kommentar und praktischer Erkundung von Nicola Vicentinos «L’antica musica ridotta alla moderna prattica» (Rom 1555). – Schola Cantorum Basiliensis (Fachhochschule Nordwestschweiz FHNW), funded by the Swiss National Science Foundation, 2020–2023</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><a href="http://p3.snf.ch/project-188922" rel="nofollow">http://p3.snf.ch/project-188922</a> <br /> <br />Vicentino21 – A digital edition with commentary, translation and practical exploration of Nicola Vicentino’s «L’antica musica ridotta alla moderna prattica» (Rome 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data-has-card-for-ri="681" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="685" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_History">Music History</a>, <script data-card-contents-for-ri="685" type="text/json">{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10604" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Music_Theory">History of Music Theory</a>, <script data-card-contents-for-ri="10604" type="text/json">{"id":10604,"name":"History of Music 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u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36884925/Giovanni_Dellantonio_La_casa_degli_affreschi_di_Ossana_fra_tutela_e_valorizzazione_conferenza_29_ottobre_2016">Giovanni Dellantonio, La casa degli affreschi di Ossana fra tutela e valorizzazione, conferenza 29 ottobre 2016</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">1 Testo italiano [2 English Text] Presentazione dello stato della questione relativa allo studio e alla conservazione di un casa di Ossana, in Val di Sole nel Trentino nordoccidentale che custodisce un interessante ciclo di affreschi di... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36884925" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">1 Testo italiano [2 English Text]<br />Presentazione dello stato della questione relativa allo studio e alla conservazione di un casa di Ossana, in Val di Sole nel Trentino nordoccidentale che custodisce un interessante ciclo di affreschi di tema sia profano che sacro databili a partire dalla seconda metà del Quattrocento. La presentazione è stata tenuta ad Ossana il 29 ottobre 2016 nell'ambito dell'iniziatica "I luoghi del cuore 2016" promossa dal FAI, il Fondo per l'Ambiente Italiano in collaborazione con il Comune di Ossana.<br />2 English Text<br />Presentation of the state of the question concerning the study and conservation of a Ossana house, in Val di Sole in the north-western Trentino which houses an interesting cycle of frescoes of both<br />profane that sacred dating from the second half of the fifteenth century. The presentation was held in Ossana on 29 October 2016 as part of the initiative "I luoghi del cuore 2016" promoted by FAI, Fondo Ambiente Italiano, the Italian Environment Fund in collaboration with the Ossana Municipality.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36884925" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="51a1c5e4a8362a20ac0693157a6a1258" rel="nofollow" data-download="{"attachment_id":56837747,"asset_id":36884925,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56837747/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1849878" href="https://iuav1.academia.edu/GiovanniDellantonio">Giovanni Dellantonio</a><script data-card-contents-for-user="1849878" type="text/json">{"id":1849878,"first_name":"Giovanni","last_name":"Dellantonio","domain_name":"iuav1","page_name":"GiovanniDellantonio","display_name":"Giovanni Dellantonio","profile_url":"https://iuav1.academia.edu/GiovanniDellantonio?f_ri=17547","photo":"https://0.academia-photos.com/1849878/628610/20396361/s65_giovanni.dellantonio.jpg"}</script></span></span></li><li class="js-paper-rank-work_36884925 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36884925"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36884925, container: ".js-paper-rank-work_36884925", }); 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$(".js-view-count[data-work-id=36884925]").text(description); $(".js-view-count-work_36884925").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36884925").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36884925"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="5124" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Art">Renaissance Art</a>, <script data-card-contents-for-ri="5124" type="text/json">{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16368" rel="nofollow" href="https://www.academia.edu/Documents/in/Italian_Renaissance_Art">Italian Renaissance Art</a>, <script data-card-contents-for-ri="16368" type="text/json">{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36884925]'), work: {"id":36884925,"title":"Giovanni Dellantonio, La casa degli affreschi di Ossana fra tutela e valorizzazione, conferenza 29 ottobre 2016","created_at":"2018-06-21T01:16:48.735-07:00","url":"https://www.academia.edu/36884925/Giovanni_Dellantonio_La_casa_degli_affreschi_di_Ossana_fra_tutela_e_valorizzazione_conferenza_29_ottobre_2016?f_ri=17547","dom_id":"work_36884925","summary":"1 Testo italiano [2 English Text]\nPresentazione dello stato della questione relativa allo studio e alla conservazione di un casa di Ossana, in Val di Sole nel Trentino nordoccidentale che custodisce un interessante ciclo di affreschi di tema sia profano che sacro databili a partire dalla seconda metà del Quattrocento. La presentazione è stata tenuta ad Ossana il 29 ottobre 2016 nell'ambito dell'iniziatica \"I luoghi del cuore 2016\" promossa dal FAI, il Fondo per l'Ambiente Italiano in collaborazione con il Comune di Ossana.\n2 English Text\nPresentation of the state of the question concerning the study and conservation of a Ossana house, in Val di Sole in the north-western Trentino which houses an interesting cycle of frescoes of both\nprofane that sacred dating from the second half of the fifteenth century. The presentation was held in Ossana on 29 October 2016 as part of the initiative \"I luoghi del cuore 2016\" promoted by FAI, Fondo Ambiente Italiano, the Italian Environment Fund in collaboration with the Ossana Municipality.","downloadable_attachments":[{"id":56837747,"asset_id":36884925,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1849878,"first_name":"Giovanni","last_name":"Dellantonio","domain_name":"iuav1","page_name":"GiovanniDellantonio","display_name":"Giovanni Dellantonio","profile_url":"https://iuav1.academia.edu/GiovanniDellantonio?f_ri=17547","photo":"https://0.academia-photos.com/1849878/628610/20396361/s65_giovanni.dellantonio.jpg"}],"research_interests":[{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=17547","nofollow":true},{"id":16368,"name":"Italian Renaissance Art","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Art?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":92803,"name":"Storia Dell'Arte Medievale","url":"https://www.academia.edu/Documents/in/Storia_DellArte_Medievale?f_ri=17547"},{"id":97839,"name":"STORIA DELL'ARTE","url":"https://www.academia.edu/Documents/in/STORIA_DELLARTE?f_ri=17547"},{"id":100266,"name":"Kunstgeschichte","url":"https://www.academia.edu/Documents/in/Kunstgeschichte?f_ri=17547"},{"id":145960,"name":"Pittura Rinascimento","url":"https://www.academia.edu/Documents/in/Pittura_Rinascimento?f_ri=17547"},{"id":238926,"name":"Tyrolean Culture","url":"https://www.academia.edu/Documents/in/Tyrolean_Culture?f_ri=17547"},{"id":490599,"name":"Trentino","url":"https://www.academia.edu/Documents/in/Trentino?f_ri=17547"},{"id":786655,"name":"Pittura Murale","url":"https://www.academia.edu/Documents/in/Pittura_Murale?f_ri=17547"},{"id":935451,"name":"Tyrolean History","url":"https://www.academia.edu/Documents/in/Tyrolean_History?f_ri=17547"},{"id":1032081,"name":"Kunstgeschichte Tirols","url":"https://www.academia.edu/Documents/in/Kunstgeschichte_Tirols?f_ri=17547"},{"id":1239334,"name":"Storia Del Trentino","url":"https://www.academia.edu/Documents/in/Storia_Del_Trentino?f_ri=17547"},{"id":1362820,"name":"History of Trentino","url":"https://www.academia.edu/Documents/in/History_of_Trentino?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_23513502" data-work_id="23513502" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/23513502/Il_Libro_Primo_de_la_Serena_e_il_madrigale_a_Roma_Musica_Disciplina_L_1996_">Il Libro Primo de la Serena e il madrigale a Roma - «Musica Disciplina» L (1996)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Libro primo de la Serena, the first book with 'Madrigali' in frontespiece, (Rome, 1530) is a bibliographic puzzle: we don't know who was the printer, if there was a collector, why, after the Sack of Rome, took place a such strange... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_23513502" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Libro primo de la Serena, the first book with 'Madrigali' in frontespiece, (Rome, 1530) is a bibliographic puzzle: we don't know who was the printer, if there was a collector, why, after the Sack of Rome, took place a  such strange issue. In the paper, some answers to these questions. The print of the Libro primo libro de la Serena is linked to a wedding of the Colonna family, expecially to Cardinale Pompeo, and Uberto Strozzi his secretary, Charles D'Argentille ('Ciarles' for Anton Francesco Doni and 'Carlo' in the print) as musician and the roman Accademia della Vigna.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/23513502" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7d6b2f2edec7f4260fa165adfa0f9e43" rel="nofollow" data-download="{"attachment_id":43948837,"asset_id":23513502,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/43948837/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4329634" href="https://independent.academia.edu/StefanoCampagnolo">Stefano Campagnolo</a><script data-card-contents-for-user="4329634" type="text/json">{"id":4329634,"first_name":"Stefano","last_name":"Campagnolo","domain_name":"independent","page_name":"StefanoCampagnolo","display_name":"Stefano Campagnolo","profile_url":"https://independent.academia.edu/StefanoCampagnolo?f_ri=17547","photo":"https://0.academia-photos.com/4329634/1737144/13237724/s65_stefano.campagnolo.jpg"}</script></span></span></li><li class="js-paper-rank-work_23513502 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="23513502"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 23513502, container: ".js-paper-rank-work_23513502", }); });</script></li><li class="js-percentile-work_23513502 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23513502; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_23513502"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_23513502 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="23513502"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23513502; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23513502]").text(description); $(".js-view-count-work_23513502").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_23513502").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="23513502"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="47060" rel="nofollow" href="https://www.academia.edu/Documents/in/Sack_of_Rome">Sack of Rome</a><script data-card-contents-for-ri="47060" type="text/json">{"id":47060,"name":"Sack of Rome","url":"https://www.academia.edu/Documents/in/Sack_of_Rome?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=23513502]'), work: {"id":23513502,"title":"Il Libro Primo de la Serena e il madrigale a Roma - «Musica Disciplina» L (1996)","created_at":"2016-03-21T05:49:52.553-07:00","url":"https://www.academia.edu/23513502/Il_Libro_Primo_de_la_Serena_e_il_madrigale_a_Roma_Musica_Disciplina_L_1996_?f_ri=17547","dom_id":"work_23513502","summary":"The Libro primo de la Serena, the first book with 'Madrigali' in frontespiece, (Rome, 1530) is a bibliographic puzzle: we don't know who was the printer, if there was a collector, why, after the Sack of Rome, took place a such strange issue. In the paper, some answers to these questions. The print of the Libro primo libro de la Serena is linked to a wedding of the Colonna family, expecially to Cardinale Pompeo, and Uberto Strozzi his secretary, Charles D'Argentille ('Ciarles' for Anton Francesco Doni and 'Carlo' in the print) as musician and the roman Accademia della Vigna.","downloadable_attachments":[{"id":43948837,"asset_id":23513502,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4329634,"first_name":"Stefano","last_name":"Campagnolo","domain_name":"independent","page_name":"StefanoCampagnolo","display_name":"Stefano Campagnolo","profile_url":"https://independent.academia.edu/StefanoCampagnolo?f_ri=17547","photo":"https://0.academia-photos.com/4329634/1737144/13237724/s65_stefano.campagnolo.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":47060,"name":"Sack of Rome","url":"https://www.academia.edu/Documents/in/Sack_of_Rome?f_ri=17547","nofollow":true},{"id":553651,"name":"Madrigals","url":"https://www.academia.edu/Documents/in/Madrigals?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_50844743" data-work_id="50844743" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/50844743/A_Presen%C3%A7a_do_Cancioneiro_lb%C3%A9rico_na_L%C3%ADrica_de_Jos%C3%A9_de_Anchieta_Um_Enfoque_Musicol%C3%B3gico">A Presença do Cancioneiro lbérico na Lírica de José de Anchieta: Um Enfoque Musicológico</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Que a obra poetica de Jose de Anchieta apresenta evidencias de uma forte influencia do cancioneiro popular iberico e fato observado por quase todos os que se dedicaram ao estudo da lirica do jesuita. Se num primeiro nivel esta e notada... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_50844743" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Que a obra poetica de Jose de Anchieta apresenta evidencias de uma forte influencia do cancioneiro popular iberico e fato observado por quase todos os que se dedicaram ao estudo da lirica do jesuita. Se num primeiro nivel esta e notada pela utiliza~ao de formas poeticomusicais como a cantiga, o romance e as trovas, os depoimentos de seus primeiros biografos podem ampliar em muito este quadro. De Pero Rodrigues 1 por exemplo, temos a declara~ao que Anchieta mudava cantigas profanas ao divino, e fazia outras novas, a honra de Deus e dos Santos, que se cantavam nas igrejas e pelas ruas e prai;:as, todas mui devotas, com que a gente se edificava, e movia ao temor e amor de Deus. Tambem Simao de Vasconcelos 2 nos informa que o padre traduziu em romances pios, com muita grai;:a e delicadeza, as cantigas profanas que andavam em uso. De fato, Anchieta adaptava textos religiosos de sua autoria a melodias cantadas pelos indios e colonos do Brasil quinhentista. Ate ai nenhuma novidade. Todavia, atentemos novamente as informa~oes de Pero Rodrigues e Simao de Vasconcelos. Ora, dizer que "mudava cantigas profanas ao divino" e "traduziu em romances pios [ ... ] as cantigas profanas" sao formas de definir um processo amplamente utilizado na literatura espanhola dos seculos XVI e XVII: a diviniza~ao de obras profanas ou o poetar a /.o divino, isto e, criar versoes de ca.rater religioso para can~oes populares. Mas exatamente o que caracteriza uma versao a /.o divino? Trata-se simplesmente de adaptar um texto religioso a uma can~ao popular? E ate que ponto teria Anchieta feito uso deste processo?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/50844743" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3ee2166b6026ac6c3eb3d7c09c006a8d" rel="nofollow" data-download="{"attachment_id":68713936,"asset_id":50844743,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/68713936/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="951082" href="https://ucriverside.academia.edu/RogerioBudasz">Rogerio Budasz</a><script data-card-contents-for-user="951082" type="text/json">{"id":951082,"first_name":"Rogerio","last_name":"Budasz","domain_name":"ucriverside","page_name":"RogerioBudasz","display_name":"Rogerio Budasz","profile_url":"https://ucriverside.academia.edu/RogerioBudasz?f_ri=17547","photo":"https://0.academia-photos.com/951082/355344/134428578/s65_rogerio.budasz.png"}</script></span></span></li><li class="js-paper-rank-work_50844743 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="50844743"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 50844743, container: ".js-paper-rank-work_50844743", }); 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$(".js-view-count[data-work-id=50844743]").text(description); $(".js-view-count-work_50844743").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_50844743").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="50844743"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="6195" rel="nofollow" href="https://www.academia.edu/Documents/in/Portuguese_Colonialism_and_Decolonizaton">Portuguese Colonialism and Decolonizaton</a>, <script data-card-contents-for-ri="6195" type="text/json">{"id":6195,"name":"Portuguese Colonialism and Decolonizaton","url":"https://www.academia.edu/Documents/in/Portuguese_Colonialism_and_Decolonizaton?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19457" rel="nofollow" href="https://www.academia.edu/Documents/in/Portuguese_Literature">Portuguese Literature</a>, <script data-card-contents-for-ri="19457" type="text/json">{"id":19457,"name":"Portuguese Literature","url":"https://www.academia.edu/Documents/in/Portuguese_Literature?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="59233" rel="nofollow" href="https://www.academia.edu/Documents/in/The_Early_Jesuits_and_Catholic_Reform">The Early Jesuits and Catholic Reform</a><script data-card-contents-for-ri="59233" type="text/json">{"id":59233,"name":"The Early Jesuits and Catholic Reform","url":"https://www.academia.edu/Documents/in/The_Early_Jesuits_and_Catholic_Reform?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=50844743]'), work: {"id":50844743,"title":"A Presença do Cancioneiro lbérico na Lírica de José de Anchieta: Um Enfoque Musicológico","created_at":"2021-08-12T09:57:10.882-07:00","url":"https://www.academia.edu/50844743/A_Presen%C3%A7a_do_Cancioneiro_lb%C3%A9rico_na_L%C3%ADrica_de_Jos%C3%A9_de_Anchieta_Um_Enfoque_Musicol%C3%B3gico?f_ri=17547","dom_id":"work_50844743","summary":"Que a obra poetica de Jose de Anchieta apresenta evidencias de uma forte influencia do cancioneiro popular iberico e fato observado por quase todos os que se dedicaram ao estudo da lirica do jesuita. Se num primeiro nivel esta e notada pela utiliza~ao de formas poeticomusicais como a cantiga, o romance e as trovas, os depoimentos de seus primeiros biografos podem ampliar em muito este quadro. De Pero Rodrigues 1 por exemplo, temos a declara~ao que Anchieta mudava cantigas profanas ao divino, e fazia outras novas, a honra de Deus e dos Santos, que se cantavam nas igrejas e pelas ruas e prai;:as, todas mui devotas, com que a gente se edificava, e movia ao temor e amor de Deus. Tambem Simao de Vasconcelos 2 nos informa que o padre traduziu em romances pios, com muita grai;:a e delicadeza, as cantigas profanas que andavam em uso. De fato, Anchieta adaptava textos religiosos de sua autoria a melodias cantadas pelos indios e colonos do Brasil quinhentista. Ate ai nenhuma novidade. Todavia, atentemos novamente as informa~oes de Pero Rodrigues e Simao de Vasconcelos. Ora, dizer que \"mudava cantigas profanas ao divino\" e \"traduziu em romances pios [ ... ] as cantigas profanas\" sao formas de definir um processo amplamente utilizado na literatura espanhola dos seculos XVI e XVII: a diviniza~ao de obras profanas ou o poetar a /.o divino, isto e, criar versoes de ca.rater religioso para can~oes populares. Mas exatamente o que caracteriza uma versao a /.o divino? Trata-se simplesmente de adaptar um texto religioso a uma can~ao popular? E ate que ponto teria Anchieta feito uso deste processo?","downloadable_attachments":[{"id":68713936,"asset_id":50844743,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":951082,"first_name":"Rogerio","last_name":"Budasz","domain_name":"ucriverside","page_name":"RogerioBudasz","display_name":"Rogerio Budasz","profile_url":"https://ucriverside.academia.edu/RogerioBudasz?f_ri=17547","photo":"https://0.academia-photos.com/951082/355344/134428578/s65_rogerio.budasz.png"}],"research_interests":[{"id":6195,"name":"Portuguese Colonialism and Decolonizaton","url":"https://www.academia.edu/Documents/in/Portuguese_Colonialism_and_Decolonizaton?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":19457,"name":"Portuguese Literature","url":"https://www.academia.edu/Documents/in/Portuguese_Literature?f_ri=17547","nofollow":true},{"id":59233,"name":"The Early 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This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37081566" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Complete transcription and reconstruction of the canon a13 for Christ and his Twelve Disciples on the Apostles Creed. This piece is found in both the Eton Choirbook and the Baldwin Manuscript. This edition contained both the fully realized canon as well as a modern reconstruction of the original monophonic version of the canon, as found in the manuscripts. <br /> <br />For a recording with a score animation see the link below: <br /><a href="https://www.youtube.com/watch?v=TBu66rLAv7I" rel="nofollow">https://www.youtube.com/watch?v=TBu66rLAv7I</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37081566" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6013df7070a0855fad64406495b0e707" rel="nofollow" data-download="{"attachment_id":57033591,"asset_id":37081566,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57033591/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6283566" href="https://florida.academia.edu/JordanAlexanderKey">Jordan Alexander Key</a><script data-card-contents-for-user="6283566" type="text/json">{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander Key","profile_url":"https://florida.academia.edu/JordanAlexanderKey?f_ri=17547","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_37081566 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37081566"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37081566, container: ".js-paper-rank-work_37081566", }); 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While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49250834" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The ensemble kindly requests that you silence electronic devices before the performance begins. While applause is welcome after any piece, it is especially welcome at the conclusion of each set. Thank you. 15 the repertory was originally produced and heard. He was Artistic Director of the Connecticut Early Music Festival from 2007 to 2015, selecting nationally and internationally known ensembles to perform as well as conducting concerts by the Connecticut Early Music Ensemble. He was music director and tenor in the Boston-based ensemble Exsultemus from 2003 to 2009. Exsultemus's 2012 CD release, "O rex orbis," his reconstruction of Vespers and Compline services for the feast of Saint Charlemagne as it might have been heard in Aachen in 1582, was "highly recommended on all counts" by Fanfare and received four stars from Belgium's Le soir, which hailed it as "Magnificent and austere music, sensual in its fervor, performed with rigor by its American interpreters." Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, bass-baritone, performs internationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. He solos under such notable figures as</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49250834" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a55bccf760a687363dfa882d17490a0f" rel="nofollow" data-download="{"attachment_id":67635160,"asset_id":49250834,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67635160/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="46827755" href="https://uconn.academia.edu/ERice">Eric Rice</a><script data-card-contents-for-user="46827755" type="text/json">{"id":46827755,"first_name":"Eric","last_name":"Rice","domain_name":"uconn","page_name":"ERice","display_name":"Eric Rice","profile_url":"https://uconn.academia.edu/ERice?f_ri=17547","photo":"https://0.academia-photos.com/46827755/43603412/125489045/s65_eric.rice.jpg"}</script></span></span></li><li class="js-paper-rank-work_49250834 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49250834"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49250834, container: ".js-paper-rank-work_49250834", }); 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Exsultemus's 2012 CD release, \"O rex orbis,\" his reconstruction of Vespers and Compline services for the feast of Saint Charlemagne as it might have been heard in Aachen in 1582, was \"highly recommended on all counts\" by Fanfare and received four stars from Belgium's Le soir, which hailed it as \"Magnificent and austere music, sensual in its fervor, performed with rigor by its American interpreters.\" Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, Paul Max Tipton, bass-baritone, performs internationally to acclaim in repertoire ranging from Schütz and Monteverdi to Britten and Bolcom. 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Connection between Cultural Interests and Architecture: The Villa Pisani at Bagnolo’, in N. Avcioglu, E. Jones (eds), Architecture, Art and Identity in Venice and its Territories, 1450–1750. 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Essays in Honour of Deborah Howard, Aldershot: Ashgate, 2013, 127-38","created_at":"2016-12-19T08:00:21.656-08:00","url":"https://www.academia.edu/30524216/_Palladio_s_Patrons_and_Music_Connection_between_Cultural_Interests_and_Architecture_The_Villa_Pisani_at_Bagnolo_in_N_Avcioglu_E_Jones_eds_Architecture_Art_and_Identity_in_Venice_and_its_Territories_1450_1750_Essays_in_Honour_of_Deborah_Howard_Aldershot_Ashgate_2013_127_38?f_ri=17547","dom_id":"work_30524216","summary":null,"downloadable_attachments":[{"id":50968327,"asset_id":30524216,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2580264,"first_name":"Laura","last_name":"Moretti","domain_name":"st-andrews","page_name":"LauraMoretti","display_name":"Laura Moretti","profile_url":"https://st-andrews.academia.edu/LauraMoretti?f_ri=17547","photo":"https://0.academia-photos.com/2580264/809177/15885949/s65_laura.moretti.jpg"}],"research_interests":[{"id":2221,"name":"Italian Studies","url":"https://www.academia.edu/Documents/in/Italian_Studies?f_ri=17547","nofollow":true},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":31141,"name":"Italian Renaissance Architecture","url":"https://www.academia.edu/Documents/in/Italian_Renaissance_Architecture?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25156555" data-work_id="25156555" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25156555/Appropriations_of_the_Past_Dowland_s_Creative_Strategies_and_Sir_Charles_Somerset_s_Collecting_Activities">Appropriations of the Past: Dowland’s Creative Strategies and Sir Charles Somerset’s Collecting Activities</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Paper held at the Dowland Study Day</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25156555" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="80392fb9a237e075eda80ae2b9d8a5be" rel="nofollow" data-download="{"attachment_id":45474956,"asset_id":25156555,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45474956/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1094081" href="https://oxford.academia.edu/ChristianThomasLeitmeir">Christian Thomas Leitmeir</a><script data-card-contents-for-user="1094081" type="text/json">{"id":1094081,"first_name":"Christian Thomas","last_name":"Leitmeir","domain_name":"oxford","page_name":"ChristianThomasLeitmeir","display_name":"Christian Thomas Leitmeir","profile_url":"https://oxford.academia.edu/ChristianThomasLeitmeir?f_ri=17547","photo":"https://0.academia-photos.com/1094081/380089/461007/s65_christian_thomas.leitmeir.jpg"}</script></span></span></li><li class="js-paper-rank-work_25156555 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25156555"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25156555, container: ".js-paper-rank-work_25156555", }); });</script></li><li class="js-percentile-work_25156555 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 25156555; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_25156555"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_25156555 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="25156555"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 25156555; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=25156555]").text(description); $(".js-view-count-work_25156555").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25156555").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25156555"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="25326" rel="nofollow" href="https://www.academia.edu/Documents/in/John_Dowland">John Dowland</a><script data-card-contents-for-ri="25326" type="text/json">{"id":25326,"name":"John Dowland","url":"https://www.academia.edu/Documents/in/John_Dowland?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25156555]'), work: {"id":25156555,"title":"Appropriations of the Past: Dowland’s Creative Strategies and Sir Charles Somerset’s Collecting Activities","created_at":"2016-05-09T04:23:17.594-07:00","url":"https://www.academia.edu/25156555/Appropriations_of_the_Past_Dowland_s_Creative_Strategies_and_Sir_Charles_Somerset_s_Collecting_Activities?f_ri=17547","dom_id":"work_25156555","summary":"Paper held at the Dowland Study Day","downloadable_attachments":[{"id":45474956,"asset_id":25156555,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1094081,"first_name":"Christian Thomas","last_name":"Leitmeir","domain_name":"oxford","page_name":"ChristianThomasLeitmeir","display_name":"Christian Thomas Leitmeir","profile_url":"https://oxford.academia.edu/ChristianThomasLeitmeir?f_ri=17547","photo":"https://0.academia-photos.com/1094081/380089/461007/s65_christian_thomas.leitmeir.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":25326,"name":"John Dowland","url":"https://www.academia.edu/Documents/in/John_Dowland?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45135400" data-work_id="45135400" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45135400/Seigneur_Leon_s_Papal_Sword_Ferrara_Du_Fay_and_His_Songs_of_the_1440s">Seigneur Leon’s Papal Sword: Ferrara, Du Fay, and His Songs of the 1440s</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Presents a new interpretation and dating of Du Fay’s rondeau "Seigneur Leon/Benedictus qui venit" based on the wording of its text and a document from the court of Leonello d’Este. It is argued that its text refers to Leonello having been... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45135400" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Presents a new interpretation and dating of Du Fay’s rondeau "Seigneur Leon/Benedictus qui venit" based on the wording of its text and a document from the court of Leonello d’Este. It is argued that its text refers to Leonello having been given a papal sword by Nicholas V, most likely in 1447. Recently revised datings of various manuscripts, along with an analysis of Du Fay’s handling of certain rhythmic details, serve as the basis for dating a number of chansons to the 1440s, thereby significantly revising the currently accepted chronology of his songs.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45135400" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b1582fa6d177120488b7c58bd18da58d" rel="nofollow" data-download="{"attachment_id":65706940,"asset_id":45135400,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65706940/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49349991" href="https://newenglandconservatory.academia.edu/SeanGallagher">Sean Gallagher</a><script data-card-contents-for-user="49349991" type="text/json">{"id":49349991,"first_name":"Sean","last_name":"Gallagher","domain_name":"newenglandconservatory","page_name":"SeanGallagher","display_name":"Sean Gallagher","profile_url":"https://newenglandconservatory.academia.edu/SeanGallagher?f_ri=17547","photo":"https://0.academia-photos.com/49349991/31472185/81193720/s65_sean.gallagher.jpg"}</script></span></span></li><li class="js-paper-rank-work_45135400 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45135400"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45135400, container: ".js-paper-rank-work_45135400", }); });</script></li><li class="js-percentile-work_45135400 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45135400; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_45135400"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_45135400 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="45135400"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45135400; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45135400]").text(description); $(".js-view-count-work_45135400").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45135400").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45135400"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="31740" rel="nofollow" href="https://www.academia.edu/Documents/in/Guillaume_Du_Fay">Guillaume Du Fay</a>, <script data-card-contents-for-ri="31740" type="text/json">{"id":31740,"name":"Guillaume Du Fay","url":"https://www.academia.edu/Documents/in/Guillaume_Du_Fay?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="71074" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Ferrara">Renaissance Ferrara</a>, <script data-card-contents-for-ri="71074" type="text/json">{"id":71074,"name":"Renaissance Ferrara","url":"https://www.academia.edu/Documents/in/Renaissance_Ferrara?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="151210" rel="nofollow" href="https://www.academia.edu/Documents/in/15th_century_Italy">15th century Italy</a><script data-card-contents-for-ri="151210" type="text/json">{"id":151210,"name":"15th century Italy","url":"https://www.academia.edu/Documents/in/15th_century_Italy?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45135400]'), work: {"id":45135400,"title":"Seigneur Leon’s Papal Sword: Ferrara, Du Fay, and His Songs of the 1440s","created_at":"2021-02-16T15:38:11.795-08:00","url":"https://www.academia.edu/45135400/Seigneur_Leon_s_Papal_Sword_Ferrara_Du_Fay_and_His_Songs_of_the_1440s?f_ri=17547","dom_id":"work_45135400","summary":"Presents a new interpretation and dating of Du Fay’s rondeau \"Seigneur Leon/Benedictus qui venit\" based on the wording of its text and a document from the court of Leonello d’Este. It is argued that its text refers to Leonello having been given a papal sword by Nicholas V, most likely in 1447. Recently revised datings of various manuscripts, along with an analysis of Du Fay’s handling of certain rhythmic details, serve as the basis for dating a number of chansons to the 1440s, thereby significantly revising the currently accepted chronology of his songs.","downloadable_attachments":[{"id":65706940,"asset_id":45135400,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49349991,"first_name":"Sean","last_name":"Gallagher","domain_name":"newenglandconservatory","page_name":"SeanGallagher","display_name":"Sean Gallagher","profile_url":"https://newenglandconservatory.academia.edu/SeanGallagher?f_ri=17547","photo":"https://0.academia-photos.com/49349991/31472185/81193720/s65_sean.gallagher.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":31740,"name":"Guillaume Du Fay","url":"https://www.academia.edu/Documents/in/Guillaume_Du_Fay?f_ri=17547","nofollow":true},{"id":71074,"name":"Renaissance Ferrara","url":"https://www.academia.edu/Documents/in/Renaissance_Ferrara?f_ri=17547","nofollow":true},{"id":151210,"name":"15th century Italy","url":"https://www.academia.edu/Documents/in/15th_century_Italy?f_ri=17547","nofollow":true},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=17547"},{"id":1119306,"name":"The Renaissance Papacy","url":"https://www.academia.edu/Documents/in/The_Renaissance_Papacy?f_ri=17547"},{"id":1465811,"name":"15th-century Music","url":"https://www.academia.edu/Documents/in/15th-century_Music?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35194507" data-work_id="35194507" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35194507/Tradieren_Memorieren_Zitieren_Kategorien_der_Cantus_firmus_Bearbeitung_im_Tenorlied_2007">Tradieren, Memorieren, Zitieren: Kategorien der Cantus-firmus-Bearbeitung im Tenorlied_2007</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the 16th century, the German song "Ich stund an einem morgen" was very popular as song poetry and as a monophonic song. Numerous composers set it polyphonically. A couple of these settings (by Isaac, Finck, Senfl, Fuchswild, Greiter),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35194507" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the 16th century, the German song "Ich stund an einem morgen" was very popular as song poetry and as a monophonic song. Numerous composers set it polyphonically. A couple of these settings (by Isaac, Finck, Senfl, Fuchswild, Greiter), when analyzed, provide insight into different stages od recollection and remembrance. The genre of the tenorlied had its roots in unwritten tradition and in general practices of cultural memory. The first stage of 'memoria' corresponds to crucial mnemonic strategies of memorizing (e.g., repetition and recurrence of melodic elements). Even in artificially composed settings these aspects can be discerned. By the technique of 'art-song reworking' common in the time around 1500, these germs of memorial relation between pieces, by way of quatation, were progressively exploited for intertextual purpose.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35194507" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2fdbc31524e18187f19ffefcd1d14937" rel="nofollow" data-download="{"attachment_id":55055429,"asset_id":35194507,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55055429/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6705161" href="https://mh-trossingen.academia.edu/NicoleSchwindt">Nicole Schwindt</a><script data-card-contents-for-user="6705161" type="text/json">{"id":6705161,"first_name":"Nicole","last_name":"Schwindt","domain_name":"mh-trossingen","page_name":"NicoleSchwindt","display_name":"Nicole Schwindt","profile_url":"https://mh-trossingen.academia.edu/NicoleSchwindt?f_ri=17547","photo":"https://0.academia-photos.com/6705161/15612189/117450220/s65_nicole.schwindt.jpg"}</script></span></span></li><li class="js-paper-rank-work_35194507 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35194507"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35194507, container: ".js-paper-rank-work_35194507", }); 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Numerous composers set it polyphonically. A couple of these settings (by Isaac, Finck, Senfl, Fuchswild, Greiter), when analyzed, provide insight into different stages od recollection and remembrance. The genre of the tenorlied had its roots in unwritten tradition and in general practices of cultural memory. The first stage of 'memoria' corresponds to crucial mnemonic strategies of memorizing (e.g., repetition and recurrence of melodic elements). Even in artificially composed settings these aspects can be discerned. By the technique of 'art-song reworking' common in the time around 1500, these germs of memorial relation between pieces, by way of quatation, were progressively exploited for intertextual purpose.","downloadable_attachments":[{"id":55055429,"asset_id":35194507,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6705161,"first_name":"Nicole","last_name":"Schwindt","domain_name":"mh-trossingen","page_name":"NicoleSchwindt","display_name":"Nicole Schwindt","profile_url":"https://mh-trossingen.academia.edu/NicoleSchwindt?f_ri=17547","photo":"https://0.academia-photos.com/6705161/15612189/117450220/s65_nicole.schwindt.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29428720" data-work_id="29428720" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29428720/Lost_voices_women_and_music_at_the_time_of_the_Catholic_Monarchs">Lost voices: women and music at the time of the Catholic Monarchs</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29428720" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c1aec03ae27f669fdcc3f3b334798031" rel="nofollow" data-download="{"attachment_id":49874271,"asset_id":29428720,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49874271/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12725153" href="https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita">Ascensión Mazuela-Anguita</a><script data-card-contents-for-user="12725153" type="text/json">{"id":12725153,"first_name":"Ascensión","last_name":"Mazuela-Anguita","domain_name":"ugr","page_name":"AscensiónMazuelaAnguita","display_name":"Ascensión Mazuela-Anguita","profile_url":"https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita?f_ri=17547","photo":"https://0.academia-photos.com/12725153/3619915/20082833/s65_ascensi_n.mazuela-anguita.jpg"}</script></span></span></li><li class="js-paper-rank-work_29428720 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29428720"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29428720, container: ".js-paper-rank-work_29428720", }); 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$(".js-view-count[data-work-id=29428720]").text(description); $(".js-view-count-work_29428720").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29428720").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29428720"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_Studies">Renaissance Studies</a>, <script data-card-contents-for-ri="2987" type="text/json">{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29428720]'), work: {"id":29428720,"title":"Lost voices: women and music at the time of the Catholic Monarchs","created_at":"2016-10-25T23:40:00.492-07:00","url":"https://www.academia.edu/29428720/Lost_voices_women_and_music_at_the_time_of_the_Catholic_Monarchs?f_ri=17547","dom_id":"work_29428720","summary":null,"downloadable_attachments":[{"id":49874271,"asset_id":29428720,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12725153,"first_name":"Ascensión","last_name":"Mazuela-Anguita","domain_name":"ugr","page_name":"AscensiónMazuelaAnguita","display_name":"Ascensión Mazuela-Anguita","profile_url":"https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita?f_ri=17547","photo":"https://0.academia-photos.com/12725153/3619915/20082833/s65_ascensi_n.mazuela-anguita.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=17547","nofollow":true},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25209560" data-work_id="25209560" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25209560/Interpreting_Iberian_Keyboard_Music_books_editions_review_Interpretation_of_16th_Century_Iberian_Music_on_the_Clavichord_by_Nelly_Van_Ree_Bernard_1989_Historical_Organ_Techniques_and_Repertoire_by_Clavert_Johnson_1994_and_Musici_organici_Johannis_Cabanilles_by_Jos%C3%A9_Climent_1992_">'Interpreting Iberian Keyboard Music' (books/editions review: Interpretation of 16th Century Iberian Music on the Clavichord, by Nelly Van Ree Bernard, 1989; Historical Organ Techniques and Repertoire.., by Clavert Johnson, 1994; & Musici organici: Johannis Cabanilles, by José Climent, 1992)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">REVIEW of three books/ editions: (1) Nelly Van Ree Bernard (book), Interpretation of 16th Century Iberian Music on the Clavichord (1989); (2) Clavert Johnson (ed.), Historical Organ Techniques and Repertoire [...] i: Spain, 1550-1830... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25209560" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">REVIEW of three books/ editions: (1) Nelly Van Ree Bernard (book), Interpretation of 16th Century Iberian Music on the Clavichord (1989); (2) Clavert Johnson (ed.), Historical Organ Techniques and Repertoire [...] i: Spain, 1550-1830 (1994); (3) J. Climent (ed.), 'Musici organici', Johannis Cabanilles, 1644-1712, vii (1992). || Review published in: 'Early Music' 23/3, "Iberian Discoveries III" (Aug. 1995) pp. 507-509.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25209560" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3fcbdab4e8bc859ee476de587c121ab3" rel="nofollow" data-download="{"attachment_id":48700914,"asset_id":25209560,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48700914/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1810724" href="https://oxford.academia.edu/BernadetteNelson">Bernadette Nelson</a><script data-card-contents-for-user="1810724" type="text/json">{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=17547","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}</script></span></span></li><li class="js-paper-rank-work_25209560 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25209560"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25209560, container: ".js-paper-rank-work_25209560", }); 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Historical Organ Techniques and Repertoire.., by Clavert Johnson, 1994; \u0026 Musici organici: Johannis Cabanilles, by José Climent, 1992)","created_at":"2016-05-10T13:48:01.628-07:00","url":"https://www.academia.edu/25209560/Interpreting_Iberian_Keyboard_Music_books_editions_review_Interpretation_of_16th_Century_Iberian_Music_on_the_Clavichord_by_Nelly_Van_Ree_Bernard_1989_Historical_Organ_Techniques_and_Repertoire_by_Clavert_Johnson_1994_and_Musici_organici_Johannis_Cabanilles_by_Jos%C3%A9_Climent_1992_?f_ri=17547","dom_id":"work_25209560","summary":"REVIEW of three books/ editions: (1) Nelly Van Ree Bernard (book), Interpretation of 16th Century Iberian Music on the Clavichord (1989); (2) Clavert Johnson (ed.), Historical Organ Techniques and Repertoire [...] i: Spain, 1550-1830 (1994); (3) J. 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Musica antica nell’Italia del secondo dopoguerra, edited by Livio Aragona and Claudio Toscani (Lucca: Libreria Musicale Italiana, 2017). Rivista Italiana di Musicologia 54 (2019), 226-231.</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41239733" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="22a21d5e7167800294e4bb0afabdf85c" rel="nofollow" data-download="{"attachment_id":61466826,"asset_id":41239733,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61466826/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6736121" href="https://unipi.academia.edu/SielAgugliaro">Siel Agugliaro</a><script data-card-contents-for-user="6736121" type="text/json">{"id":6736121,"first_name":"Siel","last_name":"Agugliaro","domain_name":"unipi","page_name":"SielAgugliaro","display_name":"Siel Agugliaro","profile_url":"https://unipi.academia.edu/SielAgugliaro?f_ri=17547","photo":"https://0.academia-photos.com/6736121/2867684/37221919/s65_siel.agugliaro.png"}</script></span></span></li><li class="js-paper-rank-work_41239733 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41239733"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41239733, container: ".js-paper-rank-work_41239733", }); 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js-work-link" href="https://www.academia.edu/36806893/Zagadnienie_polich%C3%B3ralno%C5%9Bci_w_polskich_badaniach_muzykologicznych_Polish_Musicological_Research_into_Polychorality_">Zagadnienie polichóralności w polskich badaniach muzykologicznych [Polish Musicological Research into Polychorality]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The present article is devoted to selected views regarding polychoral technique to have appeared in the writings of Polish musicologists. A brief survey of those views forms the starting point for an attempt to pinpoint how polychoral... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36806893" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The present article is devoted to selected views regarding polychoral technique to have appeared in the writings of Polish musicologists. A brief survey of those views forms the starting point for an attempt to pinpoint how polychoral technique has been defined by scholars (the context of Polish music serves here only as a background). Their views are then confronted with definitions found in the Western musicological literature. Special emphasis is placed on the so-called Italian schools of composition, especially the ‘Venetian polychoral school’. Another major issue discussed in the article is the inconsistent use of the term cori spezzati by scholars, who often treat it as synonymous with polychoral technique.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36806893" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="101f813e453556333c2647ddda41575f" rel="nofollow" data-download="{"attachment_id":67554578,"asset_id":36806893,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67554578/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49524114" href="https://pan-pl.academia.edu/Bart%C5%82omiejGembicki">Bartłomiej Gembicki</a><script data-card-contents-for-user="49524114" type="text/json">{"id":49524114,"first_name":"Bartłomiej","last_name":"Gembicki","domain_name":"pan-pl","page_name":"BartłomiejGembicki","display_name":"Bartłomiej Gembicki","profile_url":"https://pan-pl.academia.edu/Bart%C5%82omiejGembicki?f_ri=17547","photo":"https://0.academia-photos.com/49524114/13023042/19706102/s65_bartlomiej.g..jpg"}</script></span></span></li><li class="js-paper-rank-work_36806893 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36806893"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36806893, container: ".js-paper-rank-work_36806893", }); 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A brief survey of those views forms the starting point for an attempt to pinpoint how polychoral technique has been defined by scholars (the context of Polish music serves here only as a background). Their views are then confronted with definitions found in the Western musicological literature. Special emphasis is placed on the so-called Italian schools of composition, especially the ‘Venetian polychoral school’. Another major issue discussed in the article is the inconsistent use of the term cori spezzati by scholars, who often treat it as synonymous with polychoral technique. ","downloadable_attachments":[{"id":67554578,"asset_id":36806893,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49524114,"first_name":"Bartłomiej","last_name":"Gembicki","domain_name":"pan-pl","page_name":"BartłomiejGembicki","display_name":"Bartłomiej Gembicki","profile_url":"https://pan-pl.academia.edu/Bart%C5%82omiejGembicki?f_ri=17547","photo":"https://0.academia-photos.com/49524114/13023042/19706102/s65_bartlomiej.g..jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":17549,"name":"Italian Music","url":"https://www.academia.edu/Documents/in/Italian_Music?f_ri=17547","nofollow":true},{"id":24364,"name":"Historiography of Music","url":"https://www.academia.edu/Documents/in/Historiography_of_Music?f_ri=17547","nofollow":true},{"id":28170,"name":"Adrian Willaert","url":"https://www.academia.edu/Documents/in/Adrian_Willaert?f_ri=17547","nofollow":true},{"id":57320,"name":"Polychorality","url":"https://www.academia.edu/Documents/in/Polychorality?f_ri=17547"},{"id":143984,"name":"History of Venice","url":"https://www.academia.edu/Documents/in/History_of_Venice?f_ri=17547"},{"id":494007,"name":"Giovanni Gabrieli","url":"https://www.academia.edu/Documents/in/Giovanni_Gabrieli?f_ri=17547"},{"id":685221,"name":"Italian Baroque Music","url":"https://www.academia.edu/Documents/in/Italian_Baroque_Music?f_ri=17547"},{"id":799319,"name":"The Venetian Music School (1550-1610)","url":"https://www.academia.edu/Documents/in/The_Venetian_Music_School_1550-1610_?f_ri=17547"},{"id":1343409,"name":"St Mark's Basilica Venice","url":"https://www.academia.edu/Documents/in/St_Marks_Basilica_Venice?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44716058" data-work_id="44716058" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44716058/Cuenco_de_Talavera_MAN_M%C3%BAsica_y_danzas_del_Renacimiento_y_el_Barroco">Cuenco de Talavera (MAN). Música y danzas del Renacimiento y el Barroco</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">El Renacimiento hispano llevará la música a una de sus cúspides, un verdadero Siglo de Oro, y sus músicos serán conocidos en toda Europa. La música profana, con gran base popular, entrará en escena con el repertorio recogido en los... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44716058" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">El Renacimiento hispano llevará la música a una de sus cúspides, un verdadero Siglo de Oro, y sus músicos serán conocidos en toda<br />Europa. La música profana, con gran base popular, entrará en escena con el repertorio recogido en los cancioneros; además, se popularizará la tablatura instrumental, apoyada por la imprenta. Lo más importante es que la música pasará a ser un requisito de cultura, parte del necesario currículo de las  élites sociales, amantes tanto de la compleja polifonía franco-flamenca, como de las nuevas formas musicales de carácter improvisatorio (diferencias, tientos, fantasías), o las derivadas de aires de danza ( folías, pavanas, gallardas, jácaras…). El Barroco musical hispano continuará esta tradición, si bien es un aspecto menos conocido, cada vez más reivindicado. <br />Este cuenco, fabricado en el siglo XVII, sirve para ilustrar la pervivencia de la tradición musical renacentista en ambientes barrocos.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44716058" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="558ef99ba9ad25c8c806fa69fb7684c1" rel="nofollow" data-download="{"attachment_id":65197021,"asset_id":44716058,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65197021/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="230366" href="https://independent.academia.edu/Josemi_Lorenzo">Josemi Lorenzo Arribas</a><script data-card-contents-for-user="230366" type="text/json">{"id":230366,"first_name":"Josemi","last_name":"Lorenzo Arribas","domain_name":"independent","page_name":"Josemi_Lorenzo","display_name":"Josemi Lorenzo Arribas","profile_url":"https://independent.academia.edu/Josemi_Lorenzo?f_ri=17547","photo":"https://0.academia-photos.com/230366/51082/1284256/s65_josemi.lorenzo.jpg"}</script></span></span></li><li class="js-paper-rank-work_44716058 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44716058"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44716058, container: ".js-paper-rank-work_44716058", }); 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$(".js-view-count[data-work-id=44716058]").text(description); $(".js-view-count-work_44716058").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44716058").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44716058"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="671" rel="nofollow" href="https://www.academia.edu/Documents/in/Music">Music</a>, <script data-card-contents-for-ri="671" type="text/json">{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="26097" rel="nofollow" href="https://www.academia.edu/Documents/in/History_of_Dance">History of Dance</a>, <script data-card-contents-for-ri="26097" type="text/json">{"id":26097,"name":"History of Dance","url":"https://www.academia.edu/Documents/in/History_of_Dance?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="173374" rel="nofollow" href="https://www.academia.edu/Documents/in/Danza">Danza</a><script data-card-contents-for-ri="173374" type="text/json">{"id":173374,"name":"Danza","url":"https://www.academia.edu/Documents/in/Danza?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44716058]'), work: {"id":44716058,"title":"Cuenco de Talavera (MAN). Música y danzas del Renacimiento y el Barroco","created_at":"2020-12-16T03:45:53.287-08:00","url":"https://www.academia.edu/44716058/Cuenco_de_Talavera_MAN_M%C3%BAsica_y_danzas_del_Renacimiento_y_el_Barroco?f_ri=17547","dom_id":"work_44716058","summary":"El Renacimiento hispano llevará la música a una de sus cúspides, un verdadero Siglo de Oro, y sus músicos serán conocidos en toda\nEuropa. La música profana, con gran base popular, entrará en escena con el repertorio recogido en los cancioneros; además, se popularizará la tablatura instrumental, apoyada por la imprenta. Lo más importante es que la música pasará a ser un requisito de cultura, parte del necesario currículo de las élites sociales, amantes tanto de la compleja polifonía franco-flamenca, como de las nuevas formas musicales de carácter improvisatorio (diferencias, tientos, fantasías), o las derivadas de aires de danza ( folías, pavanas, gallardas, jácaras…). El Barroco musical hispano continuará esta tradición, si bien es un aspecto menos conocido, cada vez más reivindicado. \nEste cuenco, fabricado en el siglo XVII, sirve para ilustrar la pervivencia de la tradición musical renacentista en ambientes barrocos.\n","downloadable_attachments":[{"id":65197021,"asset_id":44716058,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":230366,"first_name":"Josemi","last_name":"Lorenzo Arribas","domain_name":"independent","page_name":"Josemi_Lorenzo","display_name":"Josemi Lorenzo Arribas","profile_url":"https://independent.academia.edu/Josemi_Lorenzo?f_ri=17547","photo":"https://0.academia-photos.com/230366/51082/1284256/s65_josemi.lorenzo.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":26097,"name":"History of Dance","url":"https://www.academia.edu/Documents/in/History_of_Dance?f_ri=17547","nofollow":true},{"id":173374,"name":"Danza","url":"https://www.academia.edu/Documents/in/Danza?f_ri=17547","nofollow":true},{"id":512567,"name":"Talavera De La Reina","url":"https://www.academia.edu/Documents/in/Talavera_De_La_Reina?f_ri=17547"},{"id":1168891,"name":"Barroque Music","url":"https://www.academia.edu/Documents/in/Barroque_Music?f_ri=17547"},{"id":1316744,"name":"Música Española Del Renacimiento","url":"https://www.academia.edu/Documents/in/Musica_Espanola_Del_Renacimiento?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_2068088" data-work_id="2068088" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2068088/Giovanni_Pierluigi_da_Palestrina_Motecta_festorum_totius_anni_cum_communi_sanctorum_quaternis_vocibus_1563_Critical_Edition">Giovanni Pierluigi da Palestrina, Motecta festorum totius anni cum communi sanctorum quaternis vocibus (1563) : Critical Edition</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">I Motecta festorum totius anni cum communi sanctorum quaternis vocibus di Giovanni Pierluigi da Palestrina, pubblicati durante gli anni del suo servizio come Maestro di Cappella presso la basilica romana di Santa Maria Maggiore, conobbero... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2068088" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">I Motecta festorum totius anni cum communi sanctorum quaternis vocibus di Giovanni Pierluigi da Palestrina, pubblicati durante gli anni del suo servizio come Maestro di Cappella presso la basilica romana di Santa Maria Maggiore, conobbero nei decenni successivi uno straordinario successo, imponendosi come un classico della letteratura mottettistica cinquecentesca. <br />Questa nuova edizione critica offre agli studiosi ed agli esecutori il testo palestriniano, corredato da uno studio introduttivo che prende in esame, tra l’altro, l’ordinamento liturgico dell’opera e la sua fortuna.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2068088" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="88c3fbab9c32a3b2bd491f5adf1c899f" rel="nofollow" data-download="{"attachment_id":42727664,"asset_id":2068088,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42727664/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="241473" href="https://unito.academia.edu/DanieleVFilippi">Daniele V. Filippi</a><script data-card-contents-for-user="241473" type="text/json">{"id":241473,"first_name":"Daniele V.","last_name":"Filippi","domain_name":"unito","page_name":"DanieleVFilippi","display_name":"Daniele V. Filippi","profile_url":"https://unito.academia.edu/DanieleVFilippi?f_ri=17547","photo":"https://0.academia-photos.com/241473/52561/63656598/s65_daniele_v..filippi.jpg"}</script></span></span></li><li class="js-paper-rank-work_2068088 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2068088"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2068088, container: ".js-paper-rank-work_2068088", }); });</script></li><li class="js-percentile-work_2068088 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 2068088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_2068088"); 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Edited by Edward E . Lowinsky</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is a rich and splendid volume'rich with information for scholars and laymen, splendid to hold and to look at. Although it contains the proceedings of the International Josquin Festival Conference, held in New York during the summer... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14859476" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a rich and splendid volume'rich with information for scholars and laymen, splendid to hold and to look at. Although it contains the proceedings of the International Josquin Festival Conference, held in New York during the summer of 1971, it is considerably more than the usual casual assembly of loosely related papers. Careful cross-referencing among the various articles, a meticulous index, and thoughtful reorganization of the order of the papers under six topical headings have transformed this series of thirty-three papers, three workshops, and a symposium into a coherent and practicable book. The energy and intelligence expended on the preparation of the text; the numerous, clearly printed musical examples; the nearly fifty plates, grouped together in three fascicles with each plate keyed to the page of text where it is discussed; the few typographical errors; the handsome paper and print; the sturdy binding; the three seven-inch discs containing a limited selection of the illustrative performances done by various groups during the workshops on performance practice; and a box to contain and protect both book and records clearly indicate that this volume is meant to be used and enjoyed for a long time.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14859476" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="db71b05fc9a8018b4a5743699f57ba0d" rel="nofollow" data-download="{"attachment_id":38450006,"asset_id":14859476,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38450006/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="33147134" href="https://berkeley.academia.edu/AnthonyNewcomb">Anthony Newcomb</a><script data-card-contents-for-user="33147134" type="text/json">{"id":33147134,"first_name":"Anthony","last_name":"Newcomb","domain_name":"berkeley","page_name":"AnthonyNewcomb","display_name":"Anthony Newcomb","profile_url":"https://berkeley.academia.edu/AnthonyNewcomb?f_ri=17547","photo":"https://0.academia-photos.com/33147134/9831836/10957179/s65_anthony.newcomb.jpg"}</script></span></span></li><li class="js-paper-rank-work_14859476 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14859476"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14859476, container: ".js-paper-rank-work_14859476", }); 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The energy and intelligence expended on the preparation of the text; the numerous, clearly printed musical examples; the nearly fifty plates, grouped together in three fascicles with each plate keyed to the page of text where it is discussed; the few typographical errors; the handsome paper and print; the sturdy binding; the three seven-inch discs containing a limited selection of the illustrative performances done by various groups during the workshops on performance practice; and a box to contain and protect both book and records clearly indicate that this volume is meant to be used and enjoyed for a long time.","downloadable_attachments":[{"id":38450006,"asset_id":14859476,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":33147134,"first_name":"Anthony","last_name":"Newcomb","domain_name":"berkeley","page_name":"AnthonyNewcomb","display_name":"Anthony 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development of the cantus firmus mass</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">As the 15 th century came to a close, composers increasingly felt the pressure to create new styles of music and expand on the genres already established throughout Western Europe.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1528556" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aae2025f0d9b61e698a4843564ddf481" rel="nofollow" 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Europe.","downloadable_attachments":[{"id":32979775,"asset_id":1528556,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":278306,"first_name":"Aaron","last_name":"Hynds","domain_name":"uky","page_name":"AaronHynds","display_name":"Aaron Hynds","profile_url":"https://uky.academia.edu/AaronHynds?f_ri=17547","photo":"https://0.academia-photos.com/278306/68292/28739023/s65_aaron.hynds.jpg"}],"research_interests":[{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39175913" data-work_id="39175913" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39175913/La_Lyre_chrestienne_enfin_retrouv%C3%A9e_Gen%C3%A8ve_1560_">La Lyre chrestienne enfin retrouvée (Genève, 1560)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Published in Lyons by Simon Gorlier in 1560, the Lyre chrestienne is the last lyonese XVIth-century music print which has come to light, after vanishing during a century. It is shelved in the Bibliothèque de Genève under shelfmark PFS... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39175913" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Published in Lyons by Simon Gorlier in 1560, the Lyre chrestienne is the last lyonese XVIth-century music print which has come to light, after vanishing during a century. It is shelved in the Bibliothèque de Genève under shelfmark PFS 642(1). Dedicated to Marguerite de Savoie by Guillaume Guéroult, it gathers poems by Joachim Du Bellay, Guéroult, Théodore de Bèze and Marguerite de Navarre, set in music by Antoine de Hauville and Didier Lupi second. This volume can be seen as a book of spiritual poems with music added, as a sequel of the Premier livre de chansons spirituelles by Guéroult published in 1548. It is a tribute of Guéroult to Du Bellay, who died in 1560, and contains La Complainte de Judith, a poem by Guéroult written as a pendant to his Suzanne un jour, a poem who had had a very lasting poetic and musical success. The music by Hauville borrows the rather wise style of Protestant spiritual songs, based on a homophonic stucture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39175913" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2d340925627dadfa24f6d7a714281022" rel="nofollow" data-download="{"attachment_id":59302214,"asset_id":39175913,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59302214/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="35371031" href="https://cmbv.academia.edu/LaurentGUILLO">Laurent GUILLO</a><script data-card-contents-for-user="35371031" type="text/json">{"id":35371031,"first_name":"Laurent","last_name":"GUILLO","domain_name":"cmbv","page_name":"LaurentGUILLO","display_name":"Laurent GUILLO","profile_url":"https://cmbv.academia.edu/LaurentGUILLO?f_ri=17547","photo":"https://0.academia-photos.com/35371031/10276666/16515441/s65_laurent.guillo.jpg"}</script></span></span></li><li class="js-paper-rank-work_39175913 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39175913"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39175913, container: ".js-paper-rank-work_39175913", }); 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It is shelved in the Bibliothèque de Genève under shelfmark PFS 642(1). Dedicated to Marguerite de Savoie by Guillaume Guéroult, it gathers poems by Joachim Du Bellay, Guéroult, Théodore de Bèze and Marguerite de Navarre, set in music by Antoine de Hauville and Didier Lupi second. This volume can be seen as a book of spiritual poems with music added, as a sequel of the Premier livre de chansons spirituelles by Guéroult published in 1548. It is a tribute of Guéroult to Du Bellay, who died in 1560, and contains La Complainte de Judith, a poem by Guéroult written as a pendant to his Suzanne un jour, a poem who had had a very lasting poetic and musical success. The music by Hauville borrows the rather wise style of Protestant spiritual songs, based on a homophonic stucture.","downloadable_attachments":[{"id":59302214,"asset_id":39175913,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":35371031,"first_name":"Laurent","last_name":"GUILLO","domain_name":"cmbv","page_name":"LaurentGUILLO","display_name":"Laurent GUILLO","profile_url":"https://cmbv.academia.edu/LaurentGUILLO?f_ri=17547","photo":"https://0.academia-photos.com/35371031/10276666/16515441/s65_laurent.guillo.jpg"}],"research_interests":[{"id":10106,"name":"Protestantism","url":"https://www.academia.edu/Documents/in/Protestantism?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":611835,"name":"Music printing in the 16th and 17th centuries","url":"https://www.academia.edu/Documents/in/Music_printing_in_the_16th_and_17th_centuries?f_ri=17547","nofollow":true},{"id":630346,"name":"Renaissance In Lyon","url":"https://www.academia.edu/Documents/in/Renaissance_In_Lyon?f_ri=17547","nofollow":true}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42001543" data-work_id="42001543" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42001543/Missa_miserere_michi_Domine_Introduction_2014_">Missa miserere michi Domine. Introduction (2014)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction to: Missa Miserere michi Domine, Anon. [Mass a8 in Munich Bayerische Staatsbibliothek, Ms 6], edition by Francis & Michael Bevan (2014). [For this edition, see polyphonydatabase.com]</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42001543" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1fa6ee0fe0f3f087fe8e5d5016ed562b" rel="nofollow" data-download="{"attachment_id":62224599,"asset_id":42001543,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62224599/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1810724" href="https://oxford.academia.edu/BernadetteNelson">Bernadette Nelson</a><script data-card-contents-for-user="1810724" type="text/json">{"id":1810724,"first_name":"Bernadette","last_name":"Nelson","domain_name":"oxford","page_name":"BernadetteNelson","display_name":"Bernadette Nelson","profile_url":"https://oxford.academia.edu/BernadetteNelson?f_ri=17547","photo":"https://0.academia-photos.com/1810724/10190000/11519419/s65_bernadette.nelson.jpg"}</script></span></span></li><li class="js-paper-rank-work_42001543 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42001543"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42001543, container: ".js-paper-rank-work_42001543", }); 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Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33364754" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper presents a corpus study that identifies the number of statistically distinct modes used in sacred and secular genres from 1400–1750. Corpora used for the study include Masses, motets, and secular songs from the Franco-Flemish School, works by Palestrina, secular Italian songs with alfabeto guitar tablature from the early seventeenth century, and works by J.S. Bach. A k-means cluster analyses of key profiles determine the number of distinguishable modes in each corpus. The results of this study show that the number of modes present in a corpus depend not only on date of publication but also on the genre of a composition.. . .</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33364754" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="50c6e330da5c6e6fcb870f09dbfa46ee" rel="nofollow" data-download="{"attachment_id":53421726,"asset_id":33364754,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53421726/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40290612" href="https://fsu.academia.edu/DanielTompkins">Daniel C Tompkins</a><script data-card-contents-for-user="40290612" type="text/json">{"id":40290612,"first_name":"Daniel","last_name":"Tompkins","domain_name":"fsu","page_name":"DanielTompkins","display_name":"Daniel C Tompkins","profile_url":"https://fsu.academia.edu/DanielTompkins?f_ri=17547","photo":"https://0.academia-photos.com/40290612/11011630/16700277/s65_daniel.tompkins.jpg"}</script></span></span></li><li class="js-paper-rank-work_33364754 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33364754"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33364754, container: ".js-paper-rank-work_33364754", }); 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Sintetiza algunos aspectos esenciales de la notación de la música vocal en los siglos XVI y XVII.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34110498" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="83dfc9d1e195f230104d7ee79b985d62" rel="nofollow" data-download="{"attachment_id":104829236,"asset_id":34110498,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/104829236/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7336790" href="https://uc-cl.academia.edu/AlejandroVera">Alejandro Vera</a><script data-card-contents-for-user="7336790" type="text/json">{"id":7336790,"first_name":"Alejandro","last_name":"Vera","domain_name":"uc-cl","page_name":"AlejandroVera","display_name":"Alejandro Vera","profile_url":"https://uc-cl.academia.edu/AlejandroVera?f_ri=17547","photo":"https://0.academia-photos.com/7336790/70435178/58853794/s65_alejandro.vera.jpg"}</script></span></span></li><li class="js-paper-rank-work_34110498 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34110498"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34110498, container: ".js-paper-rank-work_34110498", }); 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$(".js-view-count[data-work-id=34110498]").text(description); $(".js-view-count-work_34110498").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34110498").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="34110498"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="14954" rel="nofollow" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="16387" rel="nofollow" href="https://www.academia.edu/Documents/in/Notation_Music_">Notation (Music)</a>, <script data-card-contents-for-ri="16387" type="text/json">{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="165916" rel="nofollow" href="https://www.academia.edu/Documents/in/16th-Century_Polyphony">16th-Century Polyphony</a><script data-card-contents-for-ri="165916" type="text/json">{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34110498]'), work: {"id":34110498,"title":"La notación de la música vocal en los siglos XVI y XVII: algunos conceptos esenciales","created_at":"2017-08-02T09:38:14.665-07:00","url":"https://www.academia.edu/34110498/La_notaci%C3%B3n_de_la_m%C3%BAsica_vocal_en_los_siglos_XVI_y_XVII_algunos_conceptos_esenciales?f_ri=17547","dom_id":"work_34110498","summary":"Guía preparada por el autor para \"Notación\", curso que imparte en la Licenciatura en Música de su universidad. Sintetiza algunos aspectos esenciales de la notación de la música vocal en los siglos XVI y XVII.","downloadable_attachments":[{"id":104829236,"asset_id":34110498,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7336790,"first_name":"Alejandro","last_name":"Vera","domain_name":"uc-cl","page_name":"AlejandroVera","display_name":"Alejandro Vera","profile_url":"https://uc-cl.academia.edu/AlejandroVera?f_ri=17547","photo":"https://0.academia-photos.com/7336790/70435178/58853794/s65_alejandro.vera.jpg"}],"research_interests":[{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true},{"id":16387,"name":"Notation (Music)","url":"https://www.academia.edu/Documents/in/Notation_Music_?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=17547","nofollow":true},{"id":323719,"name":"Teoría Musical Del Renacimiento","url":"https://www.academia.edu/Documents/in/Teoria_Musical_Del_Renacimiento?f_ri=17547"},{"id":482350,"name":"Teoria Musical","url":"https://www.academia.edu/Documents/in/Teoria_Musical?f_ri=17547"},{"id":569800,"name":"Notación Musical","url":"https://www.academia.edu/Documents/in/Notacion_Musical?f_ri=17547"},{"id":771187,"name":"Música Barroca","url":"https://www.academia.edu/Documents/in/M%C3%BAsica_Barroca?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31991252" data-work_id="31991252" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31991252/Libros_impresos_de_polifon%C3%ADa_en_la_Biblioteca_de_Catalunya_1503_1628_">Libros impresos de polifonía en la Biblioteca de Catalunya (1503-1628)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The National Library of Catalonia possesses a collection of eighty printed books of polyphony published between 1503 and 1628. This is one of the richest and most diverse collections of printed music to be found in the archives and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31991252" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The National Library of Catalonia possesses a collection of eighty printed books of polyphony published between 1503 and 1628. This is one of the richest and most diverse collections of printed music to be found in the archives and libraries of the Iberian Peninsula and the only known collection here to contain exemplars of the first editions of Ottaviano Petrucci. This set of printed books does not come from any ecclesiastical institution in particular but rather it reached the Library’s holdings in the early 20th century from the personal collections of various scholars and bibliophiles and from subsequent acquisitions and donations of different provenances. The institutions or individuals who possessed these books in the 16th and 17th centuries, however, are unknown to us. This paper presents a complete census of the collection of these printed books at the National Library of Catalonia and traces the possible origin of some of the books through inscriptions and indications of use found on their pages or covers, or through book inventories kept in Barcelona’s archives.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31991252" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fc35cef3a18f5de704c86c9096497f5e" rel="nofollow" data-download="{"attachment_id":52260898,"asset_id":31991252,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52260898/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="22013058" href="https://csic.academia.edu/AndreaPuentesBlanco">Andrea Puentes-Blanco</a><script data-card-contents-for-user="22013058" type="text/json">{"id":22013058,"first_name":"Andrea","last_name":"Puentes-Blanco","domain_name":"csic","page_name":"AndreaPuentesBlanco","display_name":"Andrea Puentes-Blanco","profile_url":"https://csic.academia.edu/AndreaPuentesBlanco?f_ri=17547","photo":"https://0.academia-photos.com/22013058/6020776/28557946/s65_andrea.puentes-blanco.jpg"}</script></span></span></li><li class="js-paper-rank-work_31991252 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31991252"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31991252, container: ".js-paper-rank-work_31991252", }); 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$(".js-view-count[data-work-id=31991252]").text(description); $(".js-view-count-work_31991252").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31991252").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31991252"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="44861" rel="nofollow" href="https://www.academia.edu/Documents/in/Catalonia">Catalonia</a>, <script data-card-contents-for-ri="44861" type="text/json">{"id":44861,"name":"Catalonia","url":"https://www.academia.edu/Documents/in/Catalonia?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="82258" rel="nofollow" href="https://www.academia.edu/Documents/in/Libraries">Libraries</a>, <script data-card-contents-for-ri="82258" type="text/json">{"id":82258,"name":"Libraries","url":"https://www.academia.edu/Documents/in/Libraries?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="153071" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Printed_Books">Early Printed Books</a><script data-card-contents-for-ri="153071" type="text/json">{"id":153071,"name":"Early Printed Books","url":"https://www.academia.edu/Documents/in/Early_Printed_Books?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31991252]'), work: {"id":31991252,"title":"Libros impresos de polifonía en la Biblioteca de Catalunya (1503-1628)","created_at":"2017-03-22T13:25:23.116-07:00","url":"https://www.academia.edu/31991252/Libros_impresos_de_polifon%C3%ADa_en_la_Biblioteca_de_Catalunya_1503_1628_?f_ri=17547","dom_id":"work_31991252","summary":"The National Library of Catalonia possesses a collection of eighty printed books of polyphony published between 1503 and 1628. This is one of the richest and most diverse collections of printed music to be found in the archives and libraries of the Iberian Peninsula and the only known collection here to contain exemplars of the first editions of Ottaviano Petrucci. This set of printed books does not come from any ecclesiastical institution in particular but rather it reached the Library’s holdings in the early 20th century from the personal collections of various scholars and bibliophiles and from subsequent acquisitions and donations of different provenances. The institutions or individuals who possessed these books in the 16th and 17th centuries, however, are unknown to us. This paper presents a complete census of the collection of these printed books at the National Library of Catalonia and traces the possible origin of some of the books through inscriptions and indications of use found on their pages or covers, or through book inventories kept in Barcelona’s archives.\n\n \n\n","downloadable_attachments":[{"id":52260898,"asset_id":31991252,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":22013058,"first_name":"Andrea","last_name":"Puentes-Blanco","domain_name":"csic","page_name":"AndreaPuentesBlanco","display_name":"Andrea Puentes-Blanco","profile_url":"https://csic.academia.edu/AndreaPuentesBlanco?f_ri=17547","photo":"https://0.academia-photos.com/22013058/6020776/28557946/s65_andrea.puentes-blanco.jpg"}],"research_interests":[{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":44861,"name":"Catalonia","url":"https://www.academia.edu/Documents/in/Catalonia?f_ri=17547","nofollow":true},{"id":82258,"name":"Libraries","url":"https://www.academia.edu/Documents/in/Libraries?f_ri=17547","nofollow":true},{"id":153071,"name":"Early Printed Books","url":"https://www.academia.edu/Documents/in/Early_Printed_Books?f_ri=17547","nofollow":true},{"id":1144699,"name":"Early Modern Catalonia","url":"https://www.academia.edu/Documents/in/Early_Modern_Catalonia?f_ri=17547"},{"id":1712645,"name":"Ottaviano Petrucci","url":"https://www.academia.edu/Documents/in/Ottaviano_Petrucci?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12363062" data-work_id="12363062" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12363062/Review_Pyramus_and_Thisbe_York_International_Shakespeare_Festival_">Review: Pyramus & Thisbe (York International Shakespeare Festival)</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12363062" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a7945f2bef973fa1038e674e909aa041" rel="nofollow" data-download="{"attachment_id":37620024,"asset_id":12363062,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37620024/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="860900" href="https://aston.academia.edu/SarahOliveshehertheytheirs">Sarah Olive (she/her they/theirs)</a><script data-card-contents-for-user="860900" type="text/json">{"id":860900,"first_name":"Sarah","last_name":"Olive (she/her they/theirs)","domain_name":"aston","page_name":"SarahOliveshehertheytheirs","display_name":"Sarah Olive (she/her they/theirs)","profile_url":"https://aston.academia.edu/SarahOliveshehertheytheirs?f_ri=17547","photo":"https://0.academia-photos.com/860900/307775/52215912/s65_sarah.olive_she_her_they_theirs_.jpg"}</script></span></span></li><li class="js-paper-rank-work_12363062 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12363062"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12363062, container: ".js-paper-rank-work_12363062", }); });</script></li><li class="js-percentile-work_12363062 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12363062; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12363062"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12363062 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12363062"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12363062; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12363062]").text(description); $(".js-view-count-work_12363062").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12363062").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12363062"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="681" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="3146" rel="nofollow" href="https://www.academia.edu/Documents/in/Shakespeare">Shakespeare</a>, <script data-card-contents-for-ri="3146" type="text/json">{"id":3146,"name":"Shakespeare","url":"https://www.academia.edu/Documents/in/Shakespeare?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="4039" rel="nofollow" href="https://www.academia.edu/Documents/in/Opera">Opera</a>, <script data-card-contents-for-ri="4039" type="text/json">{"id":4039,"name":"Opera","url":"https://www.academia.edu/Documents/in/Opera?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="10286" rel="nofollow" href="https://www.academia.edu/Documents/in/Henry_Purcell">Henry Purcell</a><script data-card-contents-for-ri="10286" type="text/json">{"id":10286,"name":"Henry Purcell","url":"https://www.academia.edu/Documents/in/Henry_Purcell?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12363062]'), work: {"id":12363062,"title":"Review: Pyramus \u0026 Thisbe (York International Shakespeare Festival)","created_at":"2015-05-13T01:55:02.300-07:00","url":"https://www.academia.edu/12363062/Review_Pyramus_and_Thisbe_York_International_Shakespeare_Festival_?f_ri=17547","dom_id":"work_12363062","summary":null,"downloadable_attachments":[{"id":37620024,"asset_id":12363062,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":860900,"first_name":"Sarah","last_name":"Olive (she/her they/theirs)","domain_name":"aston","page_name":"SarahOliveshehertheytheirs","display_name":"Sarah Olive (she/her they/theirs)","profile_url":"https://aston.academia.edu/SarahOliveshehertheytheirs?f_ri=17547","photo":"https://0.academia-photos.com/860900/307775/52215912/s65_sarah.olive_she_her_they_theirs_.jpg"}],"research_interests":[{"id":681,"name":"Early 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Tempest","url":"https://www.academia.edu/Documents/in/The_Tempest?f_ri=17547"},{"id":1931904,"name":"York International Shakespeare Festival","url":"https://www.academia.edu/Documents/in/York_International_Shakespeare_Festival?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29741124" data-work_id="29741124" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29741124/Ornamentaci%C3%B3n_e_improvisaci%C3%B3n_en_la_m%C3%BAsica_del_Renacimiento_y_del_Barroco_Universidad_Internacional_de_Andaluc%C3%ADa_campus_Antonio_Mahado_de_Baeza_del_2_al_4_de_diciembre_de_2015_">Ornamentación e improvisación en la música del Renacimiento y del Barroco (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29741124" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera (Universidad de Alicante).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div 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data-has-card-for-ri="681" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Music">Early Music</a>, <script data-card-contents-for-ri="681" type="text/json">{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="687" rel="nofollow" href="https://www.academia.edu/Documents/in/Musicology">Musicology</a>, <script data-card-contents-for-ri="687" type="text/json">{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" rel="nofollow" href="https://www.academia.edu/Documents/in/Baroque_Music">Baroque Music</a>, <script data-card-contents-for-ri="14954" type="text/json">{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a><script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29741124]'), work: {"id":29741124,"title":"Ornamentación e improvisación en la música del Renacimiento y del Barroco (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015)","created_at":"2016-11-08T16:51:47.051-08:00","url":"https://www.academia.edu/29741124/Ornamentaci%C3%B3n_e_improvisaci%C3%B3n_en_la_m%C3%BAsica_del_Renacimiento_y_del_Barroco_Universidad_Internacional_de_Andaluc%C3%ADa_campus_Antonio_Mahado_de_Baeza_del_2_al_4_de_diciembre_de_2015_?f_ri=17547","dom_id":"work_29741124","summary":"Director del taller “Ornamentación e improvisación en la música del Renacimiento y del Barroco”, (Universidad Internacional de Andalucía, campus “Antonio Mahado” de Baeza, del 2 al 4 de diciembre de 2015), junto con Fernando Pérez Valera (Universidad de Alicante).","downloadable_attachments":[{"id":50197626,"asset_id":29741124,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":541245,"first_name":"Javier","last_name":"Marín-López","domain_name":"jaen","page_name":"JavierMarinLopez","display_name":"Javier Marín-López","profile_url":"https://jaen.academia.edu/JavierMarinLopez?f_ri=17547","photo":"https://0.academia-photos.com/541245/2929659/21124521/s65_javier.mar_n-l_pez.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=17547","nofollow":true},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=17547","nofollow":true},{"id":14954,"name":"Baroque Music","url":"https://www.academia.edu/Documents/in/Baroque_Music?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3630968" data-work_id="3630968" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3630968/Isabella_dEste_Selected_Letters">Isabella d'Este Selected Letters</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book contains translations from manuscripts of 830 letters held in the Archivio di Stato of Mantua, Italy, from the correspondence of Isabella d'Este. Isabella d'Este (1474-1539) reigned with her husband over the Italian city state... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3630968" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book contains translations from manuscripts of 830 letters held in the Archivio di Stato of Mantua, Italy, from the correspondence of Isabella d'Este. Isabella d'Este (1474-1539) reigned with her husband over the Italian city state of Mantua for much of her adult life. This edition, drawing on over 16,000 manuscript letters, will be followed shortly by a volume of essays  interpreting Isabella's correspondence and placing her epistolary production in the context of early modern political and social life, particularly regarding the rise of literacy and the function of letter writing in the propagation of news. <br /> <br />Isabella d'Este's activities intersected with most spheres of life that made her century famous: she was a patron of the arts, a musician, a head of state; a diplomat, a dynastic wife and mother, a traveler, a reader and book collector, a fashion trend setter and, of course, a letter writer. Many biographies have told her story, but her letters have never been systematically transcribed or published. There is wide acknowledgment in the field of Renaissance Studies that she is a pivotal and exceptional point of reference.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3630968" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="411b1a2785b7797cb04eb1f7763427e9" rel="nofollow" data-download="{"attachment_id":64471930,"asset_id":3630968,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64471930/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4013619" href="https://uci.academia.edu/DeannaShemek">Deanna Shemek</a><script data-card-contents-for-user="4013619" type="text/json">{"id":4013619,"first_name":"Deanna","last_name":"Shemek","domain_name":"uci","page_name":"DeannaShemek","display_name":"Deanna Shemek","profile_url":"https://uci.academia.edu/DeannaShemek?f_ri=17547","photo":"https://0.academia-photos.com/4013619/1523760/1852175/s65_deanna.shemek.jpg"}</script></span></span></li><li class="js-paper-rank-work_3630968 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3630968"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3630968, container: ".js-paper-rank-work_3630968", }); 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Isabella d'Este (1474-1539) reigned with her husband over the Italian city state of Mantua for much of her adult life. This edition, drawing on over 16,000 manuscript letters, will be followed shortly by a volume of essays interpreting Isabella's correspondence and placing her epistolary production in the context of early modern political and social life, particularly regarding the rise of literacy and the function of letter writing in the propagation of news. \r\n\r\nIsabella d'Este's activities intersected with most spheres of life that made her century famous: she was a patron of the arts, a musician, a head of state; a diplomat, a dynastic wife and mother, a traveler, a reader and book collector, a fashion trend setter and, of course, a letter writer. Many biographies have told her story, but her letters have never been systematically transcribed or published. There is wide acknowledgment in the field of Renaissance Studies that she is a pivotal and exceptional point of reference.","downloadable_attachments":[{"id":64471930,"asset_id":3630968,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4013619,"first_name":"Deanna","last_name":"Shemek","domain_name":"uci","page_name":"DeannaShemek","display_name":"Deanna Shemek","profile_url":"https://uci.academia.edu/DeannaShemek?f_ri=17547","photo":"https://0.academia-photos.com/4013619/1523760/1852175/s65_deanna.shemek.jpg"}],"research_interests":[{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=17547","nofollow":true},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":20255,"name":"Early Modern Women Writers","url":"https://www.academia.edu/Documents/in/Early_Modern_Women_Writers?f_ri=17547","nofollow":true},{"id":23333,"name":"Collecting and Collections","url":"https://www.academia.edu/Documents/in/Collecting_and_Collections?f_ri=17547"},{"id":71074,"name":"Renaissance Ferrara","url":"https://www.academia.edu/Documents/in/Renaissance_Ferrara?f_ri=17547"},{"id":83861,"name":"Letters","url":"https://www.academia.edu/Documents/in/Letters?f_ri=17547"},{"id":377628,"name":"Women in the Renaissance and Early Modern Europe","url":"https://www.academia.edu/Documents/in/Women_in_the_Renaissance_and_Early_Modern_Europe?f_ri=17547"},{"id":440584,"name":"The Gonzaga of Mantua","url":"https://www.academia.edu/Documents/in/The_Gonzaga_of_Mantua?f_ri=17547"},{"id":553154,"name":"Renaissance Epistolarity","url":"https://www.academia.edu/Documents/in/Renaissance_Epistolarity?f_ri=17547"},{"id":799946,"name":"Isabella d'Este","url":"https://www.academia.edu/Documents/in/Isabella_dEste?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43732452" data-work_id="43732452" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43732452/Artemisia_Gentileschi_and_Feminism_in_Early_Modern_Europe">Artemisia Gentileschi and Feminism in Early Modern Europe</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">From the book jacket: "A fresh re-examination of Artemisia Gentileschi, the most famous woman artist of the pre-modern era. This book newly situates her art in relation to her literary contemporaries, women who, like Artemisia,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43732452" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">From the book jacket: "A fresh re-examination of Artemisia Gentileschi, the most famous woman artist of the pre-modern era.  This book newly situates her art in relation to her literary contemporaries, women who, like Artemisia, challenged misogyny and provided a critical counterpoint to the dominant masculine voice."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43732452" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="36ce95599986ba3f9ec303eecae10f35" rel="nofollow" data-download="{"attachment_id":64042408,"asset_id":43732452,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64042408/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12235759" href="https://american.academia.edu/MaryDGarrard">Mary D Garrard</a><script data-card-contents-for-user="12235759" type="text/json">{"id":12235759,"first_name":"Mary","last_name":"Garrard","domain_name":"american","page_name":"MaryDGarrard","display_name":"Mary D Garrard","profile_url":"https://american.academia.edu/MaryDGarrard?f_ri=17547","photo":"https://0.academia-photos.com/12235759/40300759/33053069/s65_mary.garrard.png"}</script></span></span></li><li class="js-paper-rank-work_43732452 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43732452"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43732452, container: ".js-paper-rank-work_43732452", }); 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$(".js-view-count[data-work-id=43732452]").text(description); $(".js-view-count-work_43732452").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43732452").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43732452"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">14</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" rel="nofollow" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="1726" rel="nofollow" href="https://www.academia.edu/Documents/in/Womens_History">Women's History</a>, <script data-card-contents-for-ri="1726" type="text/json">{"id":1726,"name":"Women's History","url":"https://www.academia.edu/Documents/in/Womens_History?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="11791" rel="nofollow" href="https://www.academia.edu/Documents/in/Early_Modern_Literature">Early Modern Literature</a><script data-card-contents-for-ri="11791" type="text/json">{"id":11791,"name":"Early Modern Literature","url":"https://www.academia.edu/Documents/in/Early_Modern_Literature?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43732452]'), work: {"id":43732452,"title":"Artemisia Gentileschi and Feminism in Early Modern Europe","created_at":"2020-07-28T15:00:15.240-07:00","url":"https://www.academia.edu/43732452/Artemisia_Gentileschi_and_Feminism_in_Early_Modern_Europe?f_ri=17547","dom_id":"work_43732452","summary":"From the book jacket: \"A fresh re-examination of Artemisia Gentileschi, the most famous woman artist of the pre-modern era. This book newly situates her art in relation to her literary contemporaries, women who, like Artemisia, challenged misogyny and provided a critical counterpoint to the dominant masculine voice.\"","downloadable_attachments":[{"id":64042408,"asset_id":43732452,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12235759,"first_name":"Mary","last_name":"Garrard","domain_name":"american","page_name":"MaryDGarrard","display_name":"Mary D Garrard","profile_url":"https://american.academia.edu/MaryDGarrard?f_ri=17547","photo":"https://0.academia-photos.com/12235759/40300759/33053069/s65_mary.garrard.png"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=17547","nofollow":true},{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=17547","nofollow":true},{"id":1726,"name":"Women's 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49171551/A_BEGINNERS_GUIDE_TO_CREATING_IMITATIONS_AT_THE_FIFTH">A BEGINNER'S GUIDE TO CREATING IMITATIONS AT THE FIFTH</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A handy summary of basic rules for making stretto fugas in two and three voices, including examples by Santa Maria and Zarlino.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49171551" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1013ba29b3cd855a0ed7b7b183fe9e04" rel="nofollow" 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music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="39088" rel="nofollow" href="https://www.academia.edu/Documents/in/Claudio_Monteverdi">Claudio Monteverdi</a>, <script data-card-contents-for-ri="39088" type="text/json">{"id":39088,"name":"Claudio Monteverdi","url":"https://www.academia.edu/Documents/in/Claudio_Monteverdi?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="53278" rel="nofollow" href="https://www.academia.edu/Documents/in/Music_Improvisation">Music Improvisation</a><script data-card-contents-for-ri="53278" type="text/json">{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49171551]'), work: {"id":49171551,"title":"A BEGINNER'S GUIDE TO CREATING IMITATIONS AT THE FIFTH","created_at":"2021-06-08T08:07:04.917-07:00","url":"https://www.academia.edu/49171551/A_BEGINNERS_GUIDE_TO_CREATING_IMITATIONS_AT_THE_FIFTH?f_ri=17547","dom_id":"work_49171551","summary":"A handy summary of basic rules for making stretto fugas in two and three voices, including examples by Santa Maria and Zarlino.","downloadable_attachments":[{"id":67557980,"asset_id":49171551,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3346943,"first_name":"peter","last_name":"schubert","domain_name":"mcgill","page_name":"peterschubert","display_name":"peter schubert","profile_url":"https://mcgill.academia.edu/peterschubert?f_ri=17547","photo":"https://0.academia-photos.com/3346943/1121350/1404770/s65_peter.schubert.jpg"}],"research_interests":[{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":39088,"name":"Claudio Monteverdi","url":"https://www.academia.edu/Documents/in/Claudio_Monteverdi?f_ri=17547","nofollow":true},{"id":53278,"name":"Music Improvisation","url":"https://www.academia.edu/Documents/in/Music_Improvisation?f_ri=17547","nofollow":true},{"id":1268692,"name":"Fuga","url":"https://www.academia.edu/Documents/in/Fuga?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36820733" data-work_id="36820733" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36820733/_Women_Oral_Traditions_of_Music_and_Morality_The_Iconography_of_the_Sixteenth_Century_Spanish_Dance_at_Medieval_and_Renaissance_Music_Conference_Maynooth_University_Ireland_5_8_July_2018">"Women, Oral Traditions of Music, and Morality: The Iconography of the Sixteenth-Century Spanish Dance", at Medieval and Renaissance Music Conference, Maynooth University, Ireland, 5-8 July 2018</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Georg Braun’s Civitates Orbis Terrarum (Cologne, 1572-1617), a six-volume world atlas containing 546 views of cities, includes a panoramic of Granada, Spain, created by the Flemish artist Joris Hoefnagel (1542-1601) in 1565 in which three... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36820733" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Georg Braun’s Civitates Orbis Terrarum (Cologne, 1572-1617), a six-volume world atlas containing 546 views of cities, includes a panoramic of Granada, Spain, created by the Flemish artist Joris Hoefnagel (1542-1601) in 1565 in which three women are depicted as playing square frame drum, round frame drum with jingles, and dancing and snapping fingers, respectively; two of them are holding rosaries. Hoefnagel’s illustration of Seville also contains a musical scene with women dancing and playing the same percussion instruments, and a similar dance performance forms part of his depiction of Cádiz. It is striking that these scenes including women performing music and dancing are depicted in the foreground of the views of these cities, given the invisibility of women in the records that document the history of sixteenth-century Spanish music. It might be argued that these women were performing music and dancing in the Morisco manner, which would explain the importance attributed by Hoefnagel to musical practices specifically in Andalusia and particularly in Granada as the last Muslim-ruled kingdom in Spain. Similar scenes appear under the caption ‘Der Spanichs Dantz’ in a German codex containing illustrations of European costume dated in the first half of the sixteenth century. The association of the Spanish dance with female percussion players and the Muslim heritage makes these female musical practices problematic as regards religious orthodoxy and moral rectitude. This paper studies, from a musicological perspective, this iconography with the aim of imagining the music that sounded in these scenes, and analyses the role of sixteenth-century women in the transmission of secular Spanish musics in the light of the moral restrictions imposed upon them in that period.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36820733" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="02cac1eac7de9fcea5088ceb46da008f" rel="nofollow" data-download="{"attachment_id":56772299,"asset_id":36820733,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56772299/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12725153" href="https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita">Ascensión Mazuela-Anguita</a><script data-card-contents-for-user="12725153" type="text/json">{"id":12725153,"first_name":"Ascensión","last_name":"Mazuela-Anguita","domain_name":"ugr","page_name":"AscensiónMazuelaAnguita","display_name":"Ascensión Mazuela-Anguita","profile_url":"https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita?f_ri=17547","photo":"https://0.academia-photos.com/12725153/3619915/20082833/s65_ascensi_n.mazuela-anguita.jpg"}</script></span></span></li><li class="js-paper-rank-work_36820733 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36820733"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36820733, container: ".js-paper-rank-work_36820733", }); });</script></li><li class="js-percentile-work_36820733 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36820733; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_36820733"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_36820733 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="36820733"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36820733; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36820733]").text(description); $(".js-view-count-work_36820733").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36820733").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36820733"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="696" rel="nofollow" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="869" rel="nofollow" href="https://www.academia.edu/Documents/in/Iconography">Iconography</a>, <script data-card-contents-for-ri="869" type="text/json">{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="19780" rel="nofollow" href="https://www.academia.edu/Documents/in/Women_Composers_And_Musicians">Women Composers And Musicians</a><script data-card-contents-for-ri="19780" type="text/json">{"id":19780,"name":"Women Composers And Musicians","url":"https://www.academia.edu/Documents/in/Women_Composers_And_Musicians?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36820733]'), work: {"id":36820733,"title":"\"Women, Oral Traditions of Music, and Morality: The Iconography of the Sixteenth-Century Spanish Dance\", at Medieval and Renaissance Music Conference, Maynooth University, Ireland, 5-8 July 2018","created_at":"2018-06-11T03:47:12.649-07:00","url":"https://www.academia.edu/36820733/_Women_Oral_Traditions_of_Music_and_Morality_The_Iconography_of_the_Sixteenth_Century_Spanish_Dance_at_Medieval_and_Renaissance_Music_Conference_Maynooth_University_Ireland_5_8_July_2018?f_ri=17547","dom_id":"work_36820733","summary":"Georg Braun’s Civitates Orbis Terrarum (Cologne, 1572-1617), a six-volume world atlas containing 546 views of cities, includes a panoramic of Granada, Spain, created by the Flemish artist Joris Hoefnagel (1542-1601) in 1565 in which three women are depicted as playing square frame drum, round frame drum with jingles, and dancing and snapping fingers, respectively; two of them are holding rosaries. Hoefnagel’s illustration of Seville also contains a musical scene with women dancing and playing the same percussion instruments, and a similar dance performance forms part of his depiction of Cádiz. It is striking that these scenes including women performing music and dancing are depicted in the foreground of the views of these cities, given the invisibility of women in the records that document the history of sixteenth-century Spanish music. It might be argued that these women were performing music and dancing in the Morisco manner, which would explain the importance attributed by Hoefnagel to musical practices specifically in Andalusia and particularly in Granada as the last Muslim-ruled kingdom in Spain. Similar scenes appear under the caption ‘Der Spanichs Dantz’ in a German codex containing illustrations of European costume dated in the first half of the sixteenth century. The association of the Spanish dance with female percussion players and the Muslim heritage makes these female musical practices problematic as regards religious orthodoxy and moral rectitude. This paper studies, from a musicological perspective, this iconography with the aim of imagining the music that sounded in these scenes, and analyses the role of sixteenth-century women in the transmission of secular Spanish musics in the light of the moral restrictions imposed upon them in that period.","downloadable_attachments":[{"id":56772299,"asset_id":36820733,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12725153,"first_name":"Ascensión","last_name":"Mazuela-Anguita","domain_name":"ugr","page_name":"AscensiónMazuelaAnguita","display_name":"Ascensión Mazuela-Anguita","profile_url":"https://ugr.academia.edu/Ascensi%C3%B3nMazuelaAnguita?f_ri=17547","photo":"https://0.academia-photos.com/12725153/3619915/20082833/s65_ascensi_n.mazuela-anguita.jpg"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=17547","nofollow":true},{"id":869,"name":"Iconography","url":"https://www.academia.edu/Documents/in/Iconography?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":19780,"name":"Women Composers And Musicians","url":"https://www.academia.edu/Documents/in/Women_Composers_And_Musicians?f_ri=17547","nofollow":true},{"id":29167,"name":"Dance","url":"https://www.academia.edu/Documents/in/Dance?f_ri=17547"},{"id":32411,"name":"Women and Music","url":"https://www.academia.edu/Documents/in/Women_and_Music?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42219358" data-work_id="42219358" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42219358/The_Berlin_Chansonnier_and_French_Song_in_Florence_1450_1490_A_New_Dating_and_Its_Implications">The Berlin Chansonnier and French Song in Florence, 1450-1490: A New Dating and Its Implications</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Owing to the loss of most 15th-century music manuscripts from France and Burgundy, chansonniers of Italian origin are of special significance for our knowledge of the French song repertory and its dissemination during the second half of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42219358" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Owing to the loss of most 15th-century music manuscripts from France and Burgundy, chansonniers of Italian origin are of special significance for our knowledge of the French song repertory and its dissemination during the second half of the century. Florence appears to have been a particularly important center of collecting, judging from a group of nine chansonniers copied there between the 1440s and the early 1490s. In recent decades the Berlin Chansonnier (Berlin, Staatliche Museen der Stiftung Preussischer Kulturbesitz, Kupferstichkabinett, MS 78.C.28) has held a special place among these Florentine sources, partly because it is the only one from before the 1490s for which there is external evidence that seemed to provide a precise dating, and partly because that evidence indicated that it was our only surviving Florentine music manuscript from the 1460s. More than 30 years ago Peter Reidemeister identified the two Florentine families whose impaled arms decorate the first chanson in the collection. These arms led him to propose that the manuscript was made in connection with a wedding involving these two families, which he claimed took place in 1465 or 1466, a dating that has been accepted as a terminus ad quem in subsequent scholarship. The manuscript thus appeared to pre-date by 15 or more years the next earliest sources in the Florentine group, and the significant repertorial differences between the Berlin manuscript and those of the early 1480s seemed to confirm this time gap.<br /> Documents in the Archivio di Stato in Florence change this picture considerably. New evidence calls for a series of crucial adjustments to the theories proposed by Reidemeister that together force a reassessment of the dating of the Berlin Chansonnier. This reassessment affects in turn its relation to several other manuscripts, both from Florence and elsewhere in Italy, and provides new insight into the repertory of songs (in particular those of Busnoys) that was circulating in Florence between the 1460s and the early 1480s.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42219358" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8440259ee1f9c4d885948ba16e66b74f" rel="nofollow" data-download="{"attachment_id":62369051,"asset_id":42219358,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62369051/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49349991" href="https://newenglandconservatory.academia.edu/SeanGallagher">Sean Gallagher</a><script data-card-contents-for-user="49349991" type="text/json">{"id":49349991,"first_name":"Sean","last_name":"Gallagher","domain_name":"newenglandconservatory","page_name":"SeanGallagher","display_name":"Sean Gallagher","profile_url":"https://newenglandconservatory.academia.edu/SeanGallagher?f_ri=17547","photo":"https://0.academia-photos.com/49349991/31472185/81193720/s65_sean.gallagher.jpg"}</script></span></span></li><li class="js-paper-rank-work_42219358 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42219358"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42219358, container: ".js-paper-rank-work_42219358", }); 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$(".js-view-count[data-work-id=42219358]").text(description); $(".js-view-count-work_42219358").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42219358").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42219358"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="14870" rel="nofollow" href="https://www.academia.edu/Documents/in/Antoine_Busnoys">Antoine Busnoys</a>, <script data-card-contents-for-ri="14870" type="text/json">{"id":14870,"name":"Antoine Busnoys","url":"https://www.academia.edu/Documents/in/Antoine_Busnoys?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" rel="nofollow" href="https://www.academia.edu/Documents/in/Renaissance_music">Renaissance music</a>, <script data-card-contents-for-ri="17547" type="text/json">{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="23599" rel="nofollow" href="https://www.academia.edu/Documents/in/Chanson">Chanson</a>, <script data-card-contents-for-ri="23599" type="text/json">{"id":23599,"name":"Chanson","url":"https://www.academia.edu/Documents/in/Chanson?f_ri=17547","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="270396" rel="nofollow" href="https://www.academia.edu/Documents/in/15th_Century_Florence">15th Century Florence</a><script data-card-contents-for-ri="270396" type="text/json">{"id":270396,"name":"15th Century Florence","url":"https://www.academia.edu/Documents/in/15th_Century_Florence?f_ri=17547","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42219358]'), work: {"id":42219358,"title":"The Berlin Chansonnier and French Song in Florence, 1450-1490: A New Dating and Its Implications","created_at":"2020-03-14T19:25:30.802-07:00","url":"https://www.academia.edu/42219358/The_Berlin_Chansonnier_and_French_Song_in_Florence_1450_1490_A_New_Dating_and_Its_Implications?f_ri=17547","dom_id":"work_42219358","summary":"Owing to the loss of most 15th-century music manuscripts from France and Burgundy, chansonniers of Italian origin are of special significance for our knowledge of the French song repertory and its dissemination during the second half of the century. Florence appears to have been a particularly important center of collecting, judging from a group of nine chansonniers copied there between the 1440s and the early 1490s. In recent decades the Berlin Chansonnier (Berlin, Staatliche Museen der Stiftung Preussischer Kulturbesitz, Kupferstichkabinett, MS 78.C.28) has held a special place among these Florentine sources, partly because it is the only one from before the 1490s for which there is external evidence that seemed to provide a precise dating, and partly because that evidence indicated that it was our only surviving Florentine music manuscript from the 1460s. More than 30 years ago Peter Reidemeister identified the two Florentine families whose impaled arms decorate the first chanson in the collection. These arms led him to propose that the manuscript was made in connection with a wedding involving these two families, which he claimed took place in 1465 or 1466, a dating that has been accepted as a terminus ad quem in subsequent scholarship. The manuscript thus appeared to pre-date by 15 or more years the next earliest sources in the Florentine group, and the significant repertorial differences between the Berlin manuscript and those of the early 1480s seemed to confirm this time gap.\n\tDocuments in the Archivio di Stato in Florence change this picture considerably. New evidence calls for a series of crucial adjustments to the theories proposed by Reidemeister that together force a reassessment of the dating of the Berlin Chansonnier. This reassessment affects in turn its relation to several other manuscripts, both from Florence and elsewhere in Italy, and provides new insight into the repertory of songs (in particular those of Busnoys) that was circulating in Florence between the 1460s and the early 1480s.\n","downloadable_attachments":[{"id":62369051,"asset_id":42219358,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49349991,"first_name":"Sean","last_name":"Gallagher","domain_name":"newenglandconservatory","page_name":"SeanGallagher","display_name":"Sean Gallagher","profile_url":"https://newenglandconservatory.academia.edu/SeanGallagher?f_ri=17547","photo":"https://0.academia-photos.com/49349991/31472185/81193720/s65_sean.gallagher.jpg"}],"research_interests":[{"id":14870,"name":"Antoine Busnoys","url":"https://www.academia.edu/Documents/in/Antoine_Busnoys?f_ri=17547","nofollow":true},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=17547","nofollow":true},{"id":23599,"name":"Chanson","url":"https://www.academia.edu/Documents/in/Chanson?f_ri=17547","nofollow":true},{"id":270396,"name":"15th Century Florence","url":"https://www.academia.edu/Documents/in/15th_Century_Florence?f_ri=17547","nofollow":true},{"id":312953,"name":"Renaissance Florence","url":"https://www.academia.edu/Documents/in/Renaissance_Florence?f_ri=17547"},{"id":643622,"name":"Chansonniers","url":"https://www.academia.edu/Documents/in/Chansonniers?f_ri=17547"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_21763720" data-work_id="21763720" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/21763720/Strumenti_musicali_per_la_policoralit%C3%A0_a_Verona_Le_collezioni_dellAccademia_Filarmonica_e_della_Biblioteca_Capitolare">Strumenti musicali per la policoralità a Verona. Le collezioni dell'Accademia Filarmonica e della Biblioteca Capitolare</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/21763720" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09202365fdc3369818a6074e5b97d303" rel="nofollow" data-download="{"attachment_id":42534365,"asset_id":21763720,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/42534365/download_file?st=MTczOTkxOTcyMiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="36057067" href="https://unipv.academia.edu/MicheleMagnabosco">Michele Magnabosco</a><script data-card-contents-for-user="36057067" type="text/json">{"id":36057067,"first_name":"Michele","last_name":"Magnabosco","domain_name":"unipv","page_name":"MicheleMagnabosco","display_name":"Michele Magnabosco","profile_url":"https://unipv.academia.edu/MicheleMagnabosco?f_ri=17547","photo":"https://0.academia-photos.com/36057067/10408291/28001179/s65_michele.magnabosco.jpg"}</script></span></span></li><li class="js-paper-rank-work_21763720 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="21763720"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 21763720, container: ".js-paper-rank-work_21763720", }); 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