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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">Late medieval and Renaissance music</h1><div class="u-tcGrayDark">2,423 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Late medieval and 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/Late_medieval_and_Renaissance_music">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Late_medieval_and_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_37081566" data-work_id="37081566" 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/37081566/Canon_a13_from_the_Eton_Choirbook_Robert_Wylkynson_c_1450_c_1515_Jesus_autem_transiens_Credo_in_Deum_Source_Eton_College_Library_Eton_England_GB_WRec_MS_178_fol_126v_">Canon a13 from the Eton Choirbook (Robert Wylkynson, c. 1450 - c. 1515), "Jesus autem transiens, Credo in Deum" (Source: Eton College Library, Eton, England (GB-WRec), MS 178, fol. 126v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">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... <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="8616fd5befd2554bc9cb442cddde2840" 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=MTczMjcxMjYxNSw4LjIyMi4yMDguMTQ2&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=614341","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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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2543212,"name":"Apostles' Creed","url":"https://www.academia.edu/Documents/in/Apostles_Creed-2?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2851024,"name":"Renaissance Polyphony","url":"https://www.academia.edu/Documents/in/Renaissance_Polyphony?f_ri=614341"},{"id":2890911,"name":"Renaissance manuscripts","url":"https://www.academia.edu/Documents/in/Renaissance_manuscripts?f_ri=614341"}]}, }) } })();</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="cbab9870cc0960b4257d568bf2529273" 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=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","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" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="31740" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="71074" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="151210" 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=614341","nofollow":false}</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=614341","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=614341","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=614341","nofollow":false},{"id":31740,"name":"Guillaume Du Fay","url":"https://www.academia.edu/Documents/in/Guillaume_Du_Fay?f_ri=614341","nofollow":false},{"id":71074,"name":"Renaissance Ferrara","url":"https://www.academia.edu/Documents/in/Renaissance_Ferrara?f_ri=614341","nofollow":false},{"id":151210,"name":"15th century Italy","url":"https://www.academia.edu/Documents/in/15th_century_Italy?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":1119306,"name":"The Renaissance Papacy","url":"https://www.academia.edu/Documents/in/The_Renaissance_Papacy?f_ri=614341"},{"id":1465811,"name":"15th-century Music","url":"https://www.academia.edu/Documents/in/15th-century_Music?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25063232" data-work_id="25063232" 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/25063232/_Probitate_eminentem_Ploditando_exarare_Petrusa_Wilhelmiego_de_Grudencz_%C5%9Brodkowoeuropejska_inkarnacja_motetu_izorytmicznego">"Probitate eminentem / Ploditando exarare" Petrusa Wilhelmiego de Grudencz - środkowoeuropejska inkarnacja motetu izorytmicznego</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 motet "Probitate eminentem / Ploditando exarare" is attributed to the Central European composer and poet, Petrus Wilhelmi de Grudencz (b. 1392, d. after 1452). Although it was probably written during the mid-fifteenth century, it has... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25063232" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The motet "Probitate eminentem / Ploditando exarare" is attributed to the Central European composer and poet, Petrus Wilhelmi de Grudencz (b. 1392, d. after 1452). Although it was probably written during the mid-fifteenth century, it has survived in two manuscripts from the last quarter of that century: the Żagań partbooks (olim "Glogauer Liederbuch", KrakJ 40098) and the Lviv fragments (PozU 7022). The only complete version of this work is known from the first source. In this version the motet is intended for four voices: the two higher ones (discantus, contratenor altus) are provided with texts, while the two lower ones, the instrumental contratenor bassus and the isorhythmic tenor, have no text. An analysis of this work and its copy in the Lviv fragments leads to the conclusion that it was originally a three-voice composition, without the contratenor bassus.<br />The two texts of this composition are of a panegyrical character: they are dedicated to a monk from Żagań, Andreas Ritter (KrakJ 40098) or an unknown person (PozU 7022). The other aspect of the composition is revealed during performance: by using the device of "polyphony of texts" the laudatory motet becomes a satirical one. The true meaning of the work is also encoded in the symbolism of the number eleven, signifying sin and imperfection. The isorhythmic tenor consists of eleven notes, and the talea – taking repetition into account – recurs twenty-two times. The composition seems to refer to the tradition of laudatory motet, but it is an à rebours reference. Petrus Wilhelmi was more closely associated with the tradition of polytextual motets being composed in Central Europe than with the motets being written by such composers as Johannes Brassart, whom Wilhelmi may have met at the court of the Habsburgs. Association with the Central European tradition is indicated by such characteristics as the absence of metric complications, small rhythmic values of the tenor and song-like melodic features. "Probitate eminentem / Ploditando exarare" remains an isolated phenomenon among isorhythmic motets from the first half of the fifteenth century.</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/25063232" 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="1734339ffd1740fa0b95aa55737bb5e7" rel="nofollow" data-download="{"attachment_id":45385362,"asset_id":25063232,"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/45385362/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="2608251" href="https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk">Paweł Gancarczyk</a><script data-card-contents-for-user="2608251" type="text/json">{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_25063232 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25063232"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25063232, container: ".js-paper-rank-work_25063232", }); 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$(".js-view-count[data-work-id=25063232]").text(description); $(".js-view-count-work_25063232").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25063232").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="25063232"><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="171224" href="https://www.academia.edu/Documents/in/Motets">Motets</a>, <script data-card-contents-for-ri="171224" type="text/json">{"id":171224,"name":"Motets","url":"https://www.academia.edu/Documents/in/Motets?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="614341" href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music">Late medieval and Renaissance music</a>, <script data-card-contents-for-ri="614341" type="text/json">{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1683925" href="https://www.academia.edu/Documents/in/Petrus_Wilhemi_de_Grudencz">Petrus Wilhemi de Grudencz</a><script data-card-contents-for-ri="1683925" type="text/json">{"id":1683925,"name":"Petrus Wilhemi de Grudencz","url":"https://www.academia.edu/Documents/in/Petrus_Wilhemi_de_Grudencz?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25063232]'), work: {"id":25063232,"title":"\"Probitate eminentem / Ploditando exarare\" Petrusa Wilhelmiego de Grudencz - środkowoeuropejska inkarnacja motetu izorytmicznego","created_at":"2016-05-05T12:59:13.942-07:00","url":"https://www.academia.edu/25063232/_Probitate_eminentem_Ploditando_exarare_Petrusa_Wilhelmiego_de_Grudencz_%C5%9Brodkowoeuropejska_inkarnacja_motetu_izorytmicznego?f_ri=614341","dom_id":"work_25063232","summary":"The motet \"Probitate eminentem / Ploditando exarare\" is attributed to the Central European composer and poet, Petrus Wilhelmi de Grudencz (b. 1392, d. after 1452). Although it was probably written during the mid-fifteenth century, it has survived in two manuscripts from the last quarter of that century: the Żagań partbooks (olim \"Glogauer Liederbuch\", KrakJ 40098) and the Lviv fragments (PozU 7022). The only complete version of this work is known from the first source. In this version the motet is intended for four voices: the two higher ones (discantus, contratenor altus) are provided with texts, while the two lower ones, the instrumental contratenor bassus and the isorhythmic tenor, have no text. An analysis of this work and its copy in the Lviv fragments leads to the conclusion that it was originally a three-voice composition, without the contratenor bassus.\nThe two texts of this composition are of a panegyrical character: they are dedicated to a monk from Żagań, Andreas Ritter (KrakJ 40098) or an unknown person (PozU 7022). The other aspect of the composition is revealed during performance: by using the device of \"polyphony of texts\" the laudatory motet becomes a satirical one. The true meaning of the work is also encoded in the symbolism of the number eleven, signifying sin and imperfection. The isorhythmic tenor consists of eleven notes, and the talea – taking repetition into account – recurs twenty-two times. The composition seems to refer to the tradition of laudatory motet, but it is an à rebours reference. Petrus Wilhelmi was more closely associated with the tradition of polytextual motets being composed in Central Europe than with the motets being written by such composers as Johannes Brassart, whom Wilhelmi may have met at the court of the Habsburgs. Association with the Central European tradition is indicated by such characteristics as the absence of metric complications, small rhythmic values of the tenor and song-like melodic features. \"Probitate eminentem / Ploditando exarare\" remains an isolated phenomenon among isorhythmic motets from the first half of the fifteenth century.","downloadable_attachments":[{"id":45385362,"asset_id":25063232,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}],"research_interests":[{"id":171224,"name":"Motets","url":"https://www.academia.edu/Documents/in/Motets?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false},{"id":1683925,"name":"Petrus Wilhemi de Grudencz","url":"https://www.academia.edu/Documents/in/Petrus_Wilhemi_de_Grudencz?f_ri=614341","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_48891042" data-work_id="48891042" 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/48891042/La_Scuola_Musicale_genovese_tra_XVI_e_XVII_secolo_Genova_Antiquae_Musicae_Italicae_Studiosi_1992">La Scuola Musicale genovese tra XVI e XVII secolo, Genova, Antiquae Musicae Italicae Studiosi, 1992</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/48891042" 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="3eaefada6a3eb31cbdc6e21c1988c618" rel="nofollow" data-download="{"attachment_id":67298344,"asset_id":48891042,"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/67298344/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" 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Magister Johannes Pipardi</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Now out from Routledge! 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De reconstructie van een blokfluitconsort uit het midden van de vijftiende eeuw.pdf</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Instrument onbekend De reconstructie van een blokfluit- consort uit het midden van de vijftiende eeuw Historische bronnen maken aannemelijk dat een blokfluitcon- sort in het midden van de vijftiende eeuw in Europa een wijd- verbreid... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37971333" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Instrument onbekend<br />De reconstructie van een blokfluit- consort uit het midden van de vijftiende eeuw<br /><br />Historische bronnen maken aannemelijk dat een blokfluitcon- sort in het midden van de vijftiende eeuw in Europa een wijd- verbreid verschijnsel was. Ook stellen muziekhandschriften uit die periode ons in staat een repertoire van deze spelers te recon- strueren. Hun instrumentarium is echter niet bewaard geble- ven. De vroegste overgeleverde blokfluiten dateren uit de eerste helft van de zestiende eeuw. Ze worden slechts voorafgegaan door een vijftal archeologisch gevonden blokfluiten van rond 1400 of eerder in de veertiende eeuw. Ensemble Aventure, dat in dit project de krachten van spelen, onderzoek en blokfluitbouw bundelt, heeft als uitdaging gekozen om dit gapende gat te vul- len. Op basis van een, mede dankzij een CT-scan, aangescherpt inzicht in de archeologische Dordrecht-blokfluit, gegevens uit historische bronnen en begrip van het contemporaine repertoi- re van instrumentalisten, reconstrueerde Aventure een blok- fluitconsort uit het midden van de vijftiende eeuw.</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/37971333" 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="928d4bf5a8703eca83341eac082c6b1d" rel="nofollow" data-download="{"attachment_id":57987421,"asset_id":37971333,"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/57987421/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="11573451" href="https://independent.academia.edu/ItaHijmans">Ita Hijmans</a><script data-card-contents-for-user="11573451" type="text/json">{"id":11573451,"first_name":"Ita","last_name":"Hijmans","domain_name":"independent","page_name":"ItaHijmans","display_name":"Ita Hijmans","profile_url":"https://independent.academia.edu/ItaHijmans?f_ri=614341","photo":"https://0.academia-photos.com/11573451/3355860/3948632/s65_ita.hijmans.jpg"}</script></span></span></li><li class="js-paper-rank-work_37971333 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37971333"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37971333, container: ".js-paper-rank-work_37971333", }); 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$(".js-view-count[data-work-id=37971333]").text(description); $(".js-view-count-work_37971333").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37971333").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="37971333"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="34877" href="https://www.academia.edu/Documents/in/Recorder">Recorder</a>, <script data-card-contents-for-ri="34877" type="text/json">{"id":34877,"name":"Recorder","url":"https://www.academia.edu/Documents/in/Recorder?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="53272" href="https://www.academia.edu/Documents/in/Musical_Instruments">Musical Instruments</a>, <script data-card-contents-for-ri="53272" type="text/json">{"id":53272,"name":"Musical Instruments","url":"https://www.academia.edu/Documents/in/Musical_Instruments?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="116864" href="https://www.academia.edu/Documents/in/Recorder_repertoire">Recorder repertoire</a>, <script data-card-contents-for-ri="116864" type="text/json">{"id":116864,"name":"Recorder repertoire","url":"https://www.academia.edu/Documents/in/Recorder_repertoire?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="614341" href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music">Late medieval and Renaissance music</a><script data-card-contents-for-ri="614341" type="text/json">{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37971333]'), work: {"id":37971333,"title":"Instrument-onbekend. De reconstructie van een blokfluitconsort uit het midden van de vijftiende eeuw.pdf","created_at":"2018-12-13T06:43:00.989-08:00","url":"https://www.academia.edu/37971333/Instrument_onbekend_De_reconstructie_van_een_blokfluitconsort_uit_het_midden_van_de_vijftiende_eeuw_pdf?f_ri=614341","dom_id":"work_37971333","summary":"Instrument onbekend\nDe reconstructie van een blokfluit- consort uit het midden van de vijftiende eeuw\n\nHistorische bronnen maken aannemelijk dat een blokfluitcon- sort in het midden van de vijftiende eeuw in Europa een wijd- verbreid verschijnsel was. Ook stellen muziekhandschriften uit die periode ons in staat een repertoire van deze spelers te recon- strueren. Hun instrumentarium is echter niet bewaard geble- ven. De vroegste overgeleverde blokfluiten dateren uit de eerste helft van de zestiende eeuw. Ze worden slechts voorafgegaan door een vijftal archeologisch gevonden blokfluiten van rond 1400 of eerder in de veertiende eeuw. Ensemble Aventure, dat in dit project de krachten van spelen, onderzoek en blokfluitbouw bundelt, heeft als uitdaging gekozen om dit gapende gat te vul- len. Op basis van een, mede dankzij een CT-scan, aangescherpt inzicht in de archeologische Dordrecht-blokfluit, gegevens uit historische bronnen en begrip van het contemporaine repertoi- re van instrumentalisten, reconstrueerde Aventure een blok- fluitconsort uit het midden van de vijftiende eeuw.","downloadable_attachments":[{"id":57987421,"asset_id":37971333,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":11573451,"first_name":"Ita","last_name":"Hijmans","domain_name":"independent","page_name":"ItaHijmans","display_name":"Ita Hijmans","profile_url":"https://independent.academia.edu/ItaHijmans?f_ri=614341","photo":"https://0.academia-photos.com/11573451/3355860/3948632/s65_ita.hijmans.jpg"}],"research_interests":[{"id":34877,"name":"Recorder","url":"https://www.academia.edu/Documents/in/Recorder?f_ri=614341","nofollow":false},{"id":53272,"name":"Musical Instruments","url":"https://www.academia.edu/Documents/in/Musical_Instruments?f_ri=614341","nofollow":false},{"id":116864,"name":"Recorder repertoire","url":"https://www.academia.edu/Documents/in/Recorder_repertoire?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37709811" data-work_id="37709811" 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/37709811/Piety_and_Polyphony_in_Sixteenth_Century_Holland_The_Choirbooks_of_St_Peter_s_Church_Leiden">Piety and Polyphony in Sixteenth-Century Holland. The Choirbooks of St Peter’s Church, Leiden</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/37709811" 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="17f02a0b9dd335cf248c459bf1615157" rel="nofollow" data-download="{"attachment_id":57701848,"asset_id":37709811,"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/57701848/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="6735337" href="https://uu.academia.edu/EricJas">Eric Jas</a><script data-card-contents-for-user="6735337" type="text/json">{"id":6735337,"first_name":"Eric","last_name":"Jas","domain_name":"uu","page_name":"EricJas","display_name":"Eric Jas","profile_url":"https://uu.academia.edu/EricJas?f_ri=614341","photo":"https://0.academia-photos.com/6735337/2638476/3067258/s65_eric.jas.jpg"}</script></span></span></li><li class="js-paper-rank-work_37709811 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37709811"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37709811, container: ".js-paper-rank-work_37709811", }); 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$(".js-view-count[data-work-id=37709811]").text(description); $(".js-view-count-work_37709811").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37709811").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="37709811"><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="5148" href="https://www.academia.edu/Documents/in/The_Low_Countries">The Low Countries</a>, <script data-card-contents-for-ri="5148" type="text/json">{"id":5148,"name":"The Low Countries","url":"https://www.academia.edu/Documents/in/The_Low_Countries?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6663" href="https://www.academia.edu/Documents/in/Manuscript_Studies">Manuscript Studies</a>, <script data-card-contents-for-ri="6663" type="text/json">{"id":6663,"name":"Manuscript Studies","url":"https://www.academia.edu/Documents/in/Manuscript_Studies?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="53275" href="https://www.academia.edu/Documents/in/Vocal_Polyphony">Vocal Polyphony</a>, <script data-card-contents-for-ri="53275" type="text/json">{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="614341" href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music">Late medieval and Renaissance music</a><script data-card-contents-for-ri="614341" type="text/json">{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37709811]'), work: {"id":37709811,"title":"Piety and Polyphony in Sixteenth-Century Holland. The Choirbooks of St Peter’s Church, Leiden","created_at":"2018-11-05T23:49:46.698-08:00","url":"https://www.academia.edu/37709811/Piety_and_Polyphony_in_Sixteenth_Century_Holland_The_Choirbooks_of_St_Peter_s_Church_Leiden?f_ri=614341","dom_id":"work_37709811","summary":null,"downloadable_attachments":[{"id":57701848,"asset_id":37709811,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6735337,"first_name":"Eric","last_name":"Jas","domain_name":"uu","page_name":"EricJas","display_name":"Eric Jas","profile_url":"https://uu.academia.edu/EricJas?f_ri=614341","photo":"https://0.academia-photos.com/6735337/2638476/3067258/s65_eric.jas.jpg"}],"research_interests":[{"id":5148,"name":"The Low Countries","url":"https://www.academia.edu/Documents/in/The_Low_Countries?f_ri=614341","nofollow":false},{"id":6663,"name":"Manuscript Studies","url":"https://www.academia.edu/Documents/in/Manuscript_Studies?f_ri=614341","nofollow":false},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false},{"id":1187814,"name":"Choirbook","url":"https://www.academia.edu/Documents/in/Choirbook?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39072059" data-work_id="39072059" 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/39072059/Faenza_Codex_Kyrie_Cunctipotens_Genitor_Deus_II_Anonymous_mid_14th_century_Italian_Trecento_">Faenza Codex: Kyrie "Cunctipotens Genitor Deus" II (Anonymous, mid 14th century, Italian Trecento)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For a complete performance with an animated score video aside the original manuscript see: <a href="https://www.youtube.com/watch?v=8glBQ_SaPxI" rel="nofollow">https://www.youtube.com/watch?v=8glBQ_SaPxI</a> . The Faenza Codex, is one of the largest collection of late Medieval pieces for keyboard instruments.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39072059" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For a complete performance with an animated score video aside the original manuscript see: <a href="https://www.youtube.com/watch?v=8glBQ_SaPxI" rel="nofollow">https://www.youtube.com/watch?v=8glBQ_SaPxI</a> .<br /><br />The Faenza Codex, is one of the largest collection of late Medieval pieces for keyboard instruments. It was copied sometime during the early 15th century in northern Italy, but the pieces contained within are stylistically inline with music from the mid to late Italian Trecento (14th century). The codex contains 22 pieces, along with several musical treatises. The piece you will hear here, "Kyrie Cunctipotens Genitor Deus," is just a section of a larger collection of polyphonic duets, which set the entire Mass Ordinary.<br /><br />In traditional chant practice, the Kyrie chant is broken into three distinct sections – Kyrie I, Christe, and Kyrie II – each of which contains three iterations of its component chant. This piece from the Feanza Codex only contains polyphonic settings for two of the three first Kyrie’s, one of the Christe’s, and two of the second Kyrie’s. Thus to complete the tripartite structure of each section, I inserted between each polyphonic section a simpler statement of the chant tune in various original styles akin to the 14th century. The original polyphonic settings from the codex are built by temporally elongating the chant and combining it with an upper florid voice. This compositional idiom represents the contemporary popular musical form called “florid organum” over a “cantus firmus”. The “cantus firmus” is the “foundational song” upon which the invented music is built. Here, the Kyrie chant is prolonged, and built upon it is a freely invented, melismatic counterpoint, utilizing regular motivic variation.<br /><br />While this piece would typically be performed without any registration variation, I have chosen to go against “correct” medieval performance practice. Rather, I use a variety of instrumental colors to orchestrate the florid upper voice against the stable lower voice. Using four different instrumental colors within each section – Kyrie, Christe, Kyrie - Jordan has changed what would typically sound like a duet of similar instruments into a responsorial quartet of contrasting instruments.<br /><br />Anonymous (c. mid. 14th century): Kyrie "Cunctipotens Genitor Deus" (II) from the Faenza Codex.<br />Source: "The Codex Faenza," Faenza, Biblioteca Comunale 117 [I-FZc 117], ff. 88r-90r.</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/39072059" 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="6693753aa9e465917311a878aa522d9c" rel="nofollow" data-download="{"attachment_id":59187793,"asset_id":39072059,"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/59187793/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_39072059 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39072059"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39072059, container: ".js-paper-rank-work_39072059", }); 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$(".js-view-count[data-work-id=39072059]").text(description); $(".js-view-count-work_39072059").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39072059").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="39072059"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39072059]'), work: {"id":39072059,"title":"Faenza Codex: Kyrie \"Cunctipotens Genitor Deus\" II (Anonymous, mid 14th century, Italian Trecento)","created_at":"2019-05-09T07:01:43.431-07:00","url":"https://www.academia.edu/39072059/Faenza_Codex_Kyrie_Cunctipotens_Genitor_Deus_II_Anonymous_mid_14th_century_Italian_Trecento_?f_ri=614341","dom_id":"work_39072059","summary":"For a complete performance with an animated score video aside the original manuscript see: https://www.youtube.com/watch?v=8glBQ_SaPxI .\n\nThe Faenza Codex, is one of the largest collection of late Medieval pieces for keyboard instruments. It was copied sometime during the early 15th century in northern Italy, but the pieces contained within are stylistically inline with music from the mid to late Italian Trecento (14th century). The codex contains 22 pieces, along with several musical treatises. The piece you will hear here, \"Kyrie Cunctipotens Genitor Deus,\" is just a section of a larger collection of polyphonic duets, which set the entire Mass Ordinary.\n\nIn traditional chant practice, the Kyrie chant is broken into three distinct sections – Kyrie I, Christe, and Kyrie II – each of which contains three iterations of its component chant. This piece from the Feanza Codex only contains polyphonic settings for two of the three first Kyrie’s, one of the Christe’s, and two of the second Kyrie’s. Thus to complete the tripartite structure of each section, I inserted between each polyphonic section a simpler statement of the chant tune in various original styles akin to the 14th century. The original polyphonic settings from the codex are built by temporally elongating the chant and combining it with an upper florid voice. This compositional idiom represents the contemporary popular musical form called “florid organum” over a “cantus firmus”. The “cantus firmus” is the “foundational song” upon which the invented music is built. Here, the Kyrie chant is prolonged, and built upon it is a freely invented, melismatic counterpoint, utilizing regular motivic variation.\n\nWhile this piece would typically be performed without any registration variation, I have chosen to go against “correct” medieval performance practice. Rather, I use a variety of instrumental colors to orchestrate the florid upper voice against the stable lower voice. Using four different instrumental colors within each section – Kyrie, Christe, Kyrie - Jordan has changed what would typically sound like a duet of similar instruments into a responsorial quartet of contrasting instruments.\n\nAnonymous (c. mid. 14th century): Kyrie \"Cunctipotens Genitor Deus\" (II) from the Faenza Codex.\nSource: \"The Codex Faenza,\" Faenza, Biblioteca Comunale 117 [I-FZc 117], ff. 88r-90r.","downloadable_attachments":[{"id":59187793,"asset_id":39072059,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=614341"},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341"},{"id":17551,"name":"Organ (pipe)","url":"https://www.academia.edu/Documents/in/Organ_pipe_?f_ri=614341"},{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=614341"},{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=614341"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=614341"},{"id":56375,"name":"Medieval \u0026 Renaissance Keyboard Instruments","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Keyboard_Instruments?f_ri=614341"},{"id":136113,"name":"Ars nova","url":"https://www.academia.edu/Documents/in/Ars_nova?f_ri=614341"},{"id":173187,"name":"Trecento Music","url":"https://www.academia.edu/Documents/in/Trecento_Music?f_ri=614341"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":349243,"name":"Early Keyboard Music","url":"https://www.academia.edu/Documents/in/Early_Keyboard_Music?f_ri=614341"},{"id":576990,"name":"Music Literature for the Pipe Organ","url":"https://www.academia.edu/Documents/in/Music_Literature_for_the_Pipe_Organ?f_ri=614341"},{"id":596183,"name":"Early Organ Music","url":"https://www.academia.edu/Documents/in/Early_Organ_Music?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":696848,"name":"Pipe Organ Music","url":"https://www.academia.edu/Documents/in/Pipe_Organ_Music?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35548797" data-work_id="35548797" 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/35548797/Leonin_Organum_Purum_Viderunt_Omnes_comparative_manuscript_and_transcription_critical_edition_Sources_Florence_Firenze_Italy_I_Fl_MS_Pluteus_29_1_ff_99v_r_and_Wolfenbu_ttel_Germany_D_W_Cod_Guelf_628_Helmst_Magnus_Liber_Organi_W1_ff_25r_v_">Leonin: Organum Purum, "Viderunt Omnes" (comparative manuscript and transcription critical edition) (Sources: Florence (Firenze), Italy [I-Fl] MS Pluteus 29.1. ff. 99v-r & Wolfenbüttel, Germany (D-W), Cod. Guelf. 628 Helmst. “Magnus Liber Organi; W1”. ff. 25r-v)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. For a recording and score-video see the link below:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35548797" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Leonin's "Viderunt Omnes" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription. <br /> <br />For a recording and score-video see the link below: <br /><a href="https://www.youtube.com/watch?v=_p9WQlyVPrA" rel="nofollow">https://www.youtube.com/watch?v=_p9WQlyVPrA</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/35548797" 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="dc0bb387c91058e15cc8ebfd17a475b1" rel="nofollow" data-download="{"attachment_id":55414194,"asset_id":35548797,"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/55414194/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35548797 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35548797"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35548797, container: ".js-paper-rank-work_35548797", }); 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$(".js-view-count[data-work-id=35548797]").text(description); $(".js-view-count-work_35548797").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35548797").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="35548797"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">112</a>  </div><span class="InlineList-item-text u-textTruncate u-pl11x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="684" href="https://www.academia.edu/Documents/in/Music_Theory_Pedagogy">Music Theory Pedagogy</a>, <script data-card-contents-for-ri="684" type="text/json">{"id":684,"name":"Music Theory Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Theory_Pedagogy?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35548797]'), work: {"id":35548797,"title":"Leonin: Organum Purum, \"Viderunt Omnes\" (comparative manuscript and transcription critical edition) (Sources: Florence (Firenze), Italy [I-Fl] MS Pluteus 29.1. ff. 99v-r \u0026 Wolfenbüttel, Germany (D-W), Cod. Guelf. 628 Helmst. “Magnus Liber Organi; W1”. ff. 25r-v)","created_at":"2017-12-31T16:45:26.737-08:00","url":"https://www.academia.edu/35548797/Leonin_Organum_Purum_Viderunt_Omnes_comparative_manuscript_and_transcription_critical_edition_Sources_Florence_Firenze_Italy_I_Fl_MS_Pluteus_29_1_ff_99v_r_and_Wolfenbu_ttel_Germany_D_W_Cod_Guelf_628_Helmst_Magnus_Liber_Organi_W1_ff_25r_v_?f_ri=614341","dom_id":"work_35548797","summary":"A transcription of Leonin's \"Viderunt Omnes\" (c. mid to late 12th century), showing excerpts of the original two sources with comparative variations and a modern transcription.\r\n\r\nFor a recording and score-video see the link below:\r\nhttps://www.youtube.com/watch?v=_p9WQlyVPrA","downloadable_attachments":[{"id":55414194,"asset_id":35548797,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":684,"name":"Music Theory Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Theory_Pedagogy?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=614341"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=614341"},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=614341"},{"id":7617,"name":"Medieval Church History","url":"https://www.academia.edu/Documents/in/Medieval_Church_History?f_ri=614341"},{"id":8325,"name":"History of Musical Composition","url":"https://www.academia.edu/Documents/in/History_of_Musical_Composition?f_ri=614341"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=614341"},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=614341"},{"id":12525,"name":"Music History Pedagogy","url":"https://www.academia.edu/Documents/in/Music_History_Pedagogy?f_ri=614341"},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341"},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341"},{"id":16850,"name":"History of 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2680348,"name":"neumes","url":"https://www.academia.edu/Documents/in/neumes?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28232100" data-work_id="28232100" 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/28232100/Johannes_Ciconia_Prolation_Canon_Le_ray_au_soleyl_Mancini_Codex_Lucca_Codex_I_PEc_MS_3065_no_9_fol_LXXXIIIr_">Johannes Ciconia - Prolation Canon, "Le ray au soleyl" (Mancini Codex/Lucca Codex, I-PEc MS 3065 no. 9 fol. LXXXIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28232100" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A Prolation Canon for three voices by Johannes Ciconia (c. 1370 – 1412). this piece is a unique example of irregular prolation from the French Ars Subtilior. Utilizing a 4:3:1 proportion, this piece creates an interesting rhythmic phasing effect between the triplum and the cantus (top two voices) nearly 600  years before the 20th century composer Steve Reich popularized such musical textures. Check out the score in motion at <a href="https://www.youtube.com/watch?v=YrOEOuwYy3M" rel="nofollow">https://www.youtube.com/watch?v=YrOEOuwYy3M</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/28232100" 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="9ae715fbbf2c3589d6212ded02ced266" rel="nofollow" data-download="{"attachment_id":48553387,"asset_id":28232100,"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/48553387/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_28232100 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28232100"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28232100, container: ".js-paper-rank-work_28232100", }); 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The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27422320" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of Machaut's Rondeau 14, "Ma fin est ma commencement" ("my end is my beginning"). The score is rendered to be read both forwards and backwards as necessitated by the music. For an animated video of the score with a performance visit <a href="https://www.youtube.com/watch?v=dcfPr4IN2MM" rel="nofollow">https://www.youtube.com/watch?v=dcfPr4IN2MM</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/27422320" 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="4b5b566bed0c226522ddbe6b82fbc49f" rel="nofollow" data-download="{"attachment_id":47679063,"asset_id":27422320,"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/47679063/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_27422320 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27422320"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27422320, container: ".js-paper-rank-work_27422320", }); 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LXVIIv-LXVIIIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson. The text of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33449060" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A critical and performance edition of Alexander Agricola's chanson "De tous biens plaine" for three voices. The cantus firmus of the tenor is extracted from Hayne Van Ghizeghem's (c. 1445 – 1476 to 1497) eponymous chanson.<br /><br />The text of the first verse is underlaid in this edition, though only the first few words actually appear in the manuscript. The complete text as found in a number of Ghizeghem's sources with a complete translation is given at the end.<br /><br />It seems unlikely that the outer voices should be sung, given their continual motion, frequent awkward leaps, and extreme ambitus.  However, the inner voice certainly could be sung.</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/33449060" 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="f97b6dc53b4406a44cf735164377ea4a" rel="nofollow" data-download="{"attachment_id":53497583,"asset_id":33449060,"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/53497583/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_33449060 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33449060"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33449060, container: ".js-paper-rank-work_33449060", }); 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34279142" data-work_id="34279142" 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/34279142/Alexander_Agricola_Motet_Chanson_Belles_sur_toutes_Tota_pulchra_es_Florence_Bibliotea_del_Conservatorio_Luigi_Cherubini_MS_2439_ff_63v_64r_">Alexander Agricola: Motet Chanson, "Belles sur toutes - Tota pulchra es" (Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini, MS 2439 ff. 63v-64r. For a recording of the music with a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34279142" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A non-barred critical transcription of Alexander Agricola's motet-chanson "Belles sur toutes - Tota pulchra es" from Florence, Bibliotea del Conservatorio Luigi Cherubini,  MS 2439 ff. 63v-64r. <br /> <br />For a recording of the music with a score-video see link below: <br /><a href="https://www.youtube.com/watch?v=r2N_Ru9xjuA" rel="nofollow">https://www.youtube.com/watch?v=r2N_Ru9xjuA</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/34279142" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa 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For a video of the score with a performance see the link below.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30723397" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below.<br /><br /><a href="https://www.youtube.com/watch?v=YNcfZSBF9ow" rel="nofollow">https://www.youtube.com/watch?v=YNcfZSBF9ow</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/30723397" 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="395f5cd8ed10f3e7d739c334175ed721" rel="nofollow" data-download="{"attachment_id":51171987,"asset_id":30723397,"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/51171987/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30723397 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30723397"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30723397, container: ".js-paper-rank-work_30723397", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2592732,"name":"Codex Squarcialupi","url":"https://www.academia.edu/Documents/in/Codex_Squarcialupi?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35696265" data-work_id="35696265" 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/35696265/Baude_Cordier_Circle_Canon_Tout_par_compas_suy_composes_three_realizations_with_text_translations_Source_late_14th_century_Manuscript_Chantilly_Mus%C3%A9e_Cond%C3%A9_564_fol_12_">Baude Cordier: Circle Canon, "Tout par compas suy composes" (three realizations with text translations) (Source: late 14th century, Manuscript Chantilly, Musée Condé 564, fol 12)</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 threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35696265" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a threefold transcription of Baude Cordier's "circle canon," two versions in rondeau form and one in perpetual canon. Included with the music transcriptions are full translations from Medieval French to English of all the accompanying texts as well as an English text underlay for the music. <br /> <br />Also included is a full explanation of the various mensurations and colorations that appear in the piece. <br /> <br />The design of the scores attempts to illustrate the rondeau form overlaying the canonic conceit. <br /> <br />For a score animation with the transcription and original manuscript, see this link: <br /><a href="https://www.youtube.com/watch?v=iaeOWdXM4Pg" rel="nofollow">https://www.youtube.com/watch?v=iaeOWdXM4Pg</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/35696265" 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="237c6a09b7d0a210aed398612291fe92" rel="nofollow" data-download="{"attachment_id":55567762,"asset_id":35696265,"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/55567762/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35696265 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35696265"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35696265, container: ".js-paper-rank-work_35696265", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2536656,"name":"Mensuration Canon","url":"https://www.academia.edu/Documents/in/Mensuration_Canon?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30502490" data-work_id="30502490" 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/30502490/Gherardello_da_Firenze_c_1350_Caccia_Tosto_che_lalba_Comparative_manuscript_edition_">Gherardello da Firenze (c. 1350): Caccia, "Tosto che l'alba" (Comparative manuscript 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">This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30502490" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a comparative manuscript edition of Gherardello da Firenze's (c. 1350) caccia "Tosto che l'alba". Herein you can see the difference between the piece's three available sources listed below. For a performable realization of this piece taken from these three sources, see the related title under "performance edition".<br /><br />Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, no. 40 fol 25v-26r<br />Bibliothèque Nationale [F-PN], MS fonds italien 568 “Pit”, no. 40 fol. 25v-26r<br />British Library [GB-Lbl], Add. MS 29987, no 31 fol. 25r<br /><br />For a recording and video of the score see<br /><a href="https://www.youtube.com/watch?v=ok4VOFvLE2Y" rel="nofollow">https://www.youtube.com/watch?v=ok4VOFvLE2Y</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/30502490" 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="fc1ea84dd774c47344a8fd82c25d83eb" rel="nofollow" data-download="{"attachment_id":50955043,"asset_id":30502490,"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/50955043/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30502490 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30502490"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30502490, container: ".js-paper-rank-work_30502490", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35844311" data-work_id="35844311" 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/35844311/Richard_Sampson_Double_Circle_Canon_Salve_Radix_Source_British_Library_London_England_GB_Lbl_Royal_11_E_XI_fol_2v_3r_c_1516_">Richard Sampson: Double Circle Canon, "Salve Radix" (Source: British Library, London, England [GB-Lbl], Royal 11 E XI, fol. 2v-3r, c. 1516)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary. For a video with recording... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35844311" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, "Salve radix," written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.<br /><br />For a video with recording accompanying the modern transcription with side-by-side animated original notated music see the link below:<br /><a href="https://www.youtube.com/watch?v=R9wl1XqV6Nk" rel="nofollow">https://www.youtube.com/watch?v=R9wl1XqV6Nk</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/35844311" data-share-source="work_strip" 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History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35844311]'), work: {"id":35844311,"title":"Richard Sampson: Double Circle Canon, \"Salve Radix\" (Source: British Library, London, England [GB-Lbl], Royal 11 E XI, fol. 2v-3r, c. 1516)","created_at":"2018-02-05T11:07:12.951-08:00","url":"https://www.academia.edu/35844311/Richard_Sampson_Double_Circle_Canon_Salve_Radix_Source_British_Library_London_England_GB_Lbl_Royal_11_E_XI_fol_2v_3r_c_1516_?f_ri=614341","dom_id":"work_35844311","summary":"A pedagogical transcription of Richard Sampson's (attr.) motet in double canon, \"Salve radix,\" written to celebrate the union of Henry VIII to Catherine of Aragon and the birth of their daughter, Mary.\n\nFor a video with recording accompanying the modern transcription with side-by-side animated original notated music see the 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England","url":"https://www.academia.edu/Documents/in/King_Henry_VIII_of_England?f_ri=614341"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2781479,"name":"Moteto","url":"https://www.academia.edu/Documents/in/Moteto?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12247301" data-work_id="12247301" 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/12247301/Music_magic_and_humanism_in_late_sixteenth_century_Venice_Fabio_Paolini_and_the_heritage_of_Vicentino_Zarlino_and_Ficino">Music, magic and humanism in late sixteenth-century Venice: Fabio Paolini and the heritage of Vicentino, Zarlino and Ficino</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 examines the musical chapters in the Hebdomades (1589), an encyclopedic commentary by the humanist Fabio Paolini on a single line of Vergil (Aeneid VI.646: ‘Obloquitur numeris septem discrimina vocum’). This book, originally... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12247301" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper examines the musical chapters in the Hebdomades  (1589), an encyclopedic commentary by the humanist Fabio Paolini on a single line of Vergil (Aeneid  VI.646: ‘Obloquitur numeris septem discrimina vocum’). This book, originally given as a series of lectures before the Accademia degli Uranici in Venice, shows that Paolini, though not a professional musician, had read a variety of musical writers, such as Boethius, Vanneo, Vicentino, and his friend Zarlino, as well as the philosopher Marsilio Ficino, whose works also include discussions of musical matters. As a professional Hellenist, Paolini was better acquainted with the surviving Greek musical writings than most music theorists, and he gives valuable information about Greek manuscripts owned by Zarlino. However, the Hebdomades  also show that Paolini’s practical understanding of music theory was a little shaky. Furthermore, his comments betray a distinct humanist disdain for the music of his own time. Paolini’s work thus gives a good indication of the enthusiasm for music (or at least the ideal of ancient music) amongst non-musicians in Italian academies in the bloom of late humanism, but also the limits of non-professional speculation. The essay also examines the reception of Paolini’s work (especially by Martín del Río SJ), and includes an annotated edition of the relevant chapter of the Hebdomades.</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/12247301" 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="62b21ed122de82bd93542b79ea435387" rel="nofollow" data-download="{"attachment_id":37541658,"asset_id":12247301,"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/37541658/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/8312206/8978082/18171481/s65_grantley.mcdonald.jpg"}</script></span></span></li><li class="js-paper-rank-work_12247301 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12247301"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12247301, container: ".js-paper-rank-work_12247301", }); 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This book, originally given as a series of lectures before the Accademia degli Uranici in Venice, shows that Paolini, though not a professional musician, had read a variety of musical writers, such as Boethius, Vanneo, Vicentino, and his friend Zarlino, as well as the philosopher Marsilio Ficino, whose works also include discussions of musical matters. As a professional Hellenist, Paolini was better acquainted with the surviving Greek musical writings than most music theorists, and he gives valuable information about Greek manuscripts owned by Zarlino. However, the Hebdomades also show that Paolini’s practical understanding of music theory was a little shaky. Furthermore, his comments betray a distinct humanist disdain for the music of his own time. Paolini’s work thus gives a good indication of the enthusiasm for music (or at least the ideal of ancient music) amongst non-musicians in Italian academies in the bloom of late humanism, but also the limits of non-professional speculation. The essay also examines the reception of Paolini’s work (especially by Martín del Río SJ), and includes an annotated edition of the relevant chapter of the Hebdomades.","downloadable_attachments":[{"id":37541658,"asset_id":12247301,"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=614341","photo":"https://0.academia-photos.com/8312206/8978082/18171481/s65_grantley.mcdonald.jpg"}],"research_interests":[{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=614341","nofollow":false},{"id":3027,"name":"Renaissance 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Silesia","url":"https://www.academia.edu/Documents/in/Medieval_Silesia?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30502533" data-work_id="30502533" 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/30502533/Gherardello_da_Firenze_c_1350_Caccia_Tosto_che_lalba_Performance_edition_">Gherardello da Firenze (c. 1350): Caccia, "Tosto che l'alba" (Performance 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">This is a performance edition of Gherardello da Firenze's (c. 1350) caccia, "Tosto che l'alba." This edition is a combination of the three available sources for this piece, selecting those options which are optimal when differences arise... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30502533" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is a performance edition of Gherardello da Firenze's (c. 1350) caccia, "Tosto che l'alba." This edition is a combination of the three available sources for this piece, selecting those options which are optimal when differences arise between the manuscripts. If one desires to see the other available options in each source, please refer to the related title under "comparative manuscript edition". The complete text of the piece is provided with a translation at the end of the score.<br /><br />For a recording and video of the score see<br /><a href="https://www.youtube.com/watch?v=ok4VOFvLE2Y" rel="nofollow">https://www.youtube.com/watch?v=ok4VOFvLE2Y</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/30502533" 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="ca78e1efd620d6d1fcc98daa96f1a0d4" rel="nofollow" data-download="{"attachment_id":50945788,"asset_id":30502533,"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/50945788/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30502533 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30502533"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30502533, container: ".js-paper-rank-work_30502533", }); 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If one desires to see the other available options in each source, please refer to the related title under \"comparative manuscript edition\". 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nova","url":"https://www.academia.edu/Documents/in/french_ars_nova?f_ri=614341"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=614341"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=614341"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=614341"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2592732,"name":"Codex Squarcialupi","url":"https://www.academia.edu/Documents/in/Codex_Squarcialupi?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6886355" data-work_id="6886355" 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/6886355/Johannes_Tourout_and_Imperial_Hofkantorei_ca_1460">Johannes Tourout and Imperial Hofkantorei ca. 1460</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Johannes Tourout is known to us from several Central European music sources and from a Vatican document dated 3 July 1460, which mentions him as a cantor of Emperor Frederick III. The author establishes a timeframe for his period of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6886355" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Johannes Tourout is known to us from several Central European music sources and from a Vatican document dated 3 July 1460, which mentions him as a cantor of Emperor Frederick III. The author establishes a timeframe for his period of activity in Central Europe (late 1450s - before 1467) and postulates several hypotheses concerning the composer career. He has reconstructed as well the personel of the imperial cantors' ensemble around the year 1460 and provides detailed biographies of its members.</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/6886355" 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="ce1d85e9b186eda921a76e161ddee9a4" rel="nofollow" data-download="{"attachment_id":50560217,"asset_id":6886355,"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/50560217/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="2608251" href="https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk">Paweł Gancarczyk</a><script data-card-contents-for-user="2608251" type="text/json">{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_6886355 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6886355"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6886355, container: ".js-paper-rank-work_6886355", }); 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$(".js-view-count[data-work-id=6886355]").text(description); $(".js-view-count-work_6886355").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6886355").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="6886355"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6633" href="https://www.academia.edu/Documents/in/Habsburg_Studies">Habsburg Studies</a>, <script data-card-contents-for-ri="6633" type="text/json">{"id":6633,"name":"Habsburg Studies","url":"https://www.academia.edu/Documents/in/Habsburg_Studies?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="509240" href="https://www.academia.edu/Documents/in/Trent_Codices_and_15th_century_polyphony">Trent Codices and 15th century polyphony</a>, <script data-card-contents-for-ri="509240" type="text/json">{"id":509240,"name":"Trent Codices and 15th century polyphony","url":"https://www.academia.edu/Documents/in/Trent_Codices_and_15th_century_polyphony?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="614341" href="https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music">Late medieval and Renaissance music</a>, <script data-card-contents-for-ri="614341" type="text/json">{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="614344" href="https://www.academia.edu/Documents/in/Musical_culture_of_Central_Europe">Musical culture of Central Europe</a><script data-card-contents-for-ri="614344" type="text/json">{"id":614344,"name":"Musical culture of Central Europe","url":"https://www.academia.edu/Documents/in/Musical_culture_of_Central_Europe?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6886355]'), work: {"id":6886355,"title":"Johannes Tourout and Imperial Hofkantorei ca. 1460","created_at":"2014-04-27T07:17:24.105-07:00","url":"https://www.academia.edu/6886355/Johannes_Tourout_and_Imperial_Hofkantorei_ca_1460?f_ri=614341","dom_id":"work_6886355","summary":"Johannes Tourout is known to us from several Central European music sources and from a Vatican document dated 3 July 1460, which mentions him as a cantor of Emperor Frederick III. The author establishes a timeframe for his period of activity in Central Europe (late 1450s - before 1467) and postulates several hypotheses concerning the composer career. He has reconstructed as well the personel of the imperial cantors' ensemble around the year 1460 and provides detailed biographies of its members. ","downloadable_attachments":[{"id":50560217,"asset_id":6886355,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}],"research_interests":[{"id":6633,"name":"Habsburg Studies","url":"https://www.academia.edu/Documents/in/Habsburg_Studies?f_ri=614341","nofollow":false},{"id":509240,"name":"Trent Codices and 15th century polyphony","url":"https://www.academia.edu/Documents/in/Trent_Codices_and_15th_century_polyphony?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341","nofollow":false},{"id":614344,"name":"Musical culture of Central Europe","url":"https://www.academia.edu/Documents/in/Musical_culture_of_Central_Europe?f_ri=614341","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36736070" data-work_id="36736070" 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/36736070/Canonic_Ballade_on_a_Labyrinth_En_la_maison_Dedalus_Anon_ca_1375_Source_University_Library_Berkeley_United_States_US_BE_Tractatus_de_Musica_Guidonis_dArezzo_fol_31v_">Canonic Ballade on a Labyrinth, "En la maison Dedalus" Anon. ca. 1375 (Source: University Library, Berkeley, United States [US-BE], "Tractatus de Musica Guidonis d'Arezzo." fol. 31v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For an audio-video animation of the manuscript with the modern transcription see the link below: <a href="https://www.youtube.com/watch?v=dO56v7qltNo" rel="nofollow">https://www.youtube.com/watch?v=dO56v7qltNo</a> An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36736070" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For an audio-video animation of the manuscript with the modern transcription see the link below:<br /><a href="https://www.youtube.com/watch?v=dO56v7qltNo" rel="nofollow">https://www.youtube.com/watch?v=dO56v7qltNo</a><br /><br />An edition of the anonymous labyrinthine ballade on three canons, "En la maison Dedalus" (In the House of Dedalus) from the Berkeley Manuscript. <br /><br />This edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.</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/36736070" 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="9ad709a5ec79a36f0ad9204c25dec309" rel="nofollow" data-download="{"attachment_id":56678937,"asset_id":36736070,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" 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href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="684" href="https://www.academia.edu/Documents/in/Music_Theory_Pedagogy">Music Theory Pedagogy</a><script data-card-contents-for-ri="684" type="text/json">{"id":684,"name":"Music Theory Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Theory_Pedagogy?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36736070]'), work: {"id":36736070,"title":"Canonic Ballade on a Labyrinth, \"En la maison Dedalus\" Anon. ca. 1375 (Source: University Library, Berkeley, United States [US-BE], \"Tractatus de Musica Guidonis d'Arezzo.\" fol. 31v.)","created_at":"2018-05-28T21:27:22.359-07:00","url":"https://www.academia.edu/36736070/Canonic_Ballade_on_a_Labyrinth_En_la_maison_Dedalus_Anon_ca_1375_Source_University_Library_Berkeley_United_States_US_BE_Tractatus_de_Musica_Guidonis_dArezzo_fol_31v_?f_ri=614341","dom_id":"work_36736070","summary":"For an audio-video animation of the manuscript with the modern transcription see the link below:\nhttps://www.youtube.com/watch?v=dO56v7qltNo\n\nAn edition of the anonymous labyrinthine ballade on three canons, \"En la maison Dedalus\" (In the House of Dedalus) from the Berkeley Manuscript. \n\nThis edition includes a modern transcription of the music, the original manuscript excerpted, poetic and literal translations of the text, reconstruction of the 11-tier labyrinth upon which the music is overlain, and pedagogical materials/explanations of the musical and poetic medieval Ballade forme-fixe.","downloadable_attachments":[{"id":56678937,"asset_id":36736070,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=614341","nofollow":false},{"id":684,"name":"Music Theory Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Theory_Pedagogy?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341"},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341"},{"id":1228,"name":"Medieval Literature","url":"https://www.academia.edu/Documents/in/Medieval_Literature?f_ri=614341"},{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History?f_ri=614341"},{"id":2041,"name":"Music and Language","url":"https://www.academia.edu/Documents/in/Music_and_Language?f_ri=614341"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=614341"},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=614341"},{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=614341"},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=614341"},{"id":6531,"name":"Labyrinths (Religion)","url":"https://www.academia.edu/Documents/in/Labyrinths_Religion_?f_ri=614341"},{"id":6538,"name":"Labyrinths","url":"https://www.academia.edu/Documents/in/Labyrinths?f_ri=614341"},{"id":8325,"name":"History of Musical Composition","url":"https://www.academia.edu/Documents/in/History_of_Musical_Composition?f_ri=614341"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=614341"},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=614341"},{"id":12936,"name":"Medieval 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2697894,"name":"Medieval and Renaissance Manuscripts; Books of Hours","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Manuscripts_Books_of_Hours?f_ri=614341"},{"id":2851024,"name":"Renaissance Polyphony","url":"https://www.academia.edu/Documents/in/Renaissance_Polyphony?f_ri=614341"},{"id":2890911,"name":"Renaissance manuscripts","url":"https://www.academia.edu/Documents/in/Renaissance_manuscripts?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6608287" data-work_id="6608287" 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/6608287/Piobaireachd_The_Origins_of_the_Traditional_Music_of_the_Great_Highland_Bagpipes_of_Scotland">Piobaireachd: The Origins of the Traditional Music of the Great Highland Bagpipes of Scotland</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Draft of a colloquium presentation given in 2014 at the University of Arizona as part of their ancient ethnomusicology series. Herein, the mechanics of the bagpipe as well as the basic structure of Ceol Mor (Piobaireachd) are briefly... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6608287" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Draft of a colloquium presentation given in 2014 at the University of Arizona as part of their ancient ethnomusicology series. Herein, the mechanics of the bagpipe as well as the basic structure of Ceol Mor (Piobaireachd) are briefly outlined for the uninformed. Traditional theories as to the origins of Piobaireachd are discussed, and then an additional likely source of inspiration for the genre is proposed: early liturgical change in the British Isles. More research and musical analysis is needed to fully outline this theory. Some problems arise when we consider that there are few extant sources of medieval chant from the Isles due to numerous church reformations and consequent destruction of archives. However, if we can examine closely related repertoires from the Continent, extant Scottish sources, as well as more recent chant sources in the Isles, the similarities between the melodic structure of the earliest Piobaireachd and medieval chant repertoires become evident as at least one additional source of inspiration for early Ceol Mor's distinctive intervalic contours.<br /><br />Please note that this is a draft, not a published paper in any fashion (hence, it's labeling as such). I am not an expert on Piobaireach, rather a scholar in medieval studies with more extensive experience in chant history. My interest and knowledge of Piobaireachd comes from my experience as a bagpiper, and these observations come from my knowledge of chant in conjunction with my familiarity of early Piobaireachd repertoire. If you are interested in more thorough discussion of Piobaireachd apart from Gregorian/Gallican/Scottish chant, please refer to the bibliography.<br /><br />You can view the presentation at <a href="https://www.youtube.com/watch?v=wWjFYPwcxWY&t" rel="nofollow">https://www.youtube.com/watch?v=wWjFYPwcxWY&t</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/6608287" 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="f7251b68fed8704eb0ba8347c6f1c311" rel="nofollow" data-download="{"attachment_id":35486044,"asset_id":6608287,"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/35486044/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_6608287 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6608287"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6608287, container: ".js-paper-rank-work_6608287", }); 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$(".js-view-count[data-work-id=6608287]").text(description); $(".js-view-count-work_6608287").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6608287").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="6608287"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">33</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1987" href="https://www.academia.edu/Documents/in/Ethnomusicology">Ethnomusicology</a>, <script data-card-contents-for-ri="1987" type="text/json">{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3299" href="https://www.academia.edu/Documents/in/Scottish_Renaissance">Scottish Renaissance</a><script data-card-contents-for-ri="3299" type="text/json">{"id":3299,"name":"Scottish Renaissance","url":"https://www.academia.edu/Documents/in/Scottish_Renaissance?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6608287]'), work: {"id":6608287,"title":"Piobaireachd: The Origins of the Traditional Music of the Great Highland Bagpipes of Scotland","created_at":"2014-03-31T15:28:57.444-07:00","url":"https://www.academia.edu/6608287/Piobaireachd_The_Origins_of_the_Traditional_Music_of_the_Great_Highland_Bagpipes_of_Scotland?f_ri=614341","dom_id":"work_6608287","summary":"Draft of a colloquium presentation given in 2014 at the University of Arizona as part of their ancient ethnomusicology series. Herein, the mechanics of the bagpipe as well as the basic structure of Ceol Mor (Piobaireachd) are briefly outlined for the uninformed. Traditional theories as to the origins of Piobaireachd are discussed, and then an additional likely source of inspiration for the genre is proposed: early liturgical change in the British Isles. More research and musical analysis is needed to fully outline this theory. Some problems arise when we consider that there are few extant sources of medieval chant from the Isles due to numerous church reformations and consequent destruction of archives. However, if we can examine closely related repertoires from the Continent, extant Scottish sources, as well as more recent chant sources in the Isles, the similarities between the melodic structure of the earliest Piobaireachd and medieval chant repertoires become evident as at least one additional source of inspiration for early Ceol Mor's distinctive intervalic contours.\n\nPlease note that this is a draft, not a published paper in any fashion (hence, it's labeling as such). I am not an expert on Piobaireach, rather a scholar in medieval studies with more extensive experience in chant history. My interest and knowledge of Piobaireachd comes from my experience as a bagpiper, and these observations come from my knowledge of chant in conjunction with my familiarity of early Piobaireachd repertoire. If you are interested in more thorough discussion of Piobaireachd apart from Gregorian/Gallican/Scottish chant, please refer to the bibliography.\n\nYou can view the presentation at https://www.youtube.com/watch?v=wWjFYPwcxWY\u0026t","downloadable_attachments":[{"id":35486044,"asset_id":6608287,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=614341","nofollow":false},{"id":3299,"name":"Scottish Renaissance","url":"https://www.academia.edu/Documents/in/Scottish_Renaissance?f_ri=614341","nofollow":false},{"id":5037,"name":"Historical Ethnomusicology","url":"https://www.academia.edu/Documents/in/Historical_Ethnomusicology?f_ri=614341"},{"id":5634,"name":"Scottish History","url":"https://www.academia.edu/Documents/in/Scottish_History?f_ri=614341"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=614341"},{"id":12217,"name":"Scottish music","url":"https://www.academia.edu/Documents/in/Scottish_music?f_ri=614341"},{"id":16163,"name":"Scottish Gaelic Music","url":"https://www.academia.edu/Documents/in/Scottish_Gaelic_Music?f_ri=614341"},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341"},{"id":59387,"name":"Scottish Traditional Music","url":"https://www.academia.edu/Documents/in/Scottish_Traditional_Music?f_ri=614341"},{"id":81559,"name":"Scotland","url":"https://www.academia.edu/Documents/in/Scotland?f_ri=614341"},{"id":89533,"name":"Bagpipes","url":"https://www.academia.edu/Documents/in/Bagpipes?f_ri=614341"},{"id":139040,"name":"Medieval, Renaissance and Baroque Music","url":"https://www.academia.edu/Documents/in/Medieval_Renaissance_and_Baroque_Music?f_ri=614341"},{"id":291667,"name":"Traditional Scottish Music","url":"https://www.academia.edu/Documents/in/Traditional_Scottish_Music?f_ri=614341"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":374317,"name":"Early Music Performance","url":"https://www.academia.edu/Documents/in/Early_Music_Performance?f_ri=614341"},{"id":375842,"name":"The Great Highland Bagpipe","url":"https://www.academia.edu/Documents/in/The_Great_Highland_Bagpipe?f_ri=614341"},{"id":455647,"name":"Early music and historically informed performance practice","url":"https://www.academia.edu/Documents/in/Early_music_and_historically_informed_performance_practice?f_ri=614341"},{"id":559090,"name":"Medieval Scottish history","url":"https://www.academia.edu/Documents/in/Medieval_Scottish_history?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":674499,"name":"Late Medieval Scottish history","url":"https://www.academia.edu/Documents/in/Late_Medieval_Scottish_history?f_ri=614341"},{"id":816938,"name":"Scottish Folk Music","url":"https://www.academia.edu/Documents/in/Scottish_Folk_Music?f_ri=614341"},{"id":1108863,"name":"Piobaireachd (Classical Bagpipe Music) )","url":"https://www.academia.edu/Documents/in/Piobaireachd_Classical_Bagpipe_Music_?f_ri=614341"},{"id":1212904,"name":"History of Scottish Dance and Music","url":"https://www.academia.edu/Documents/in/History_of_Scottish_Dance_and_Music?f_ri=614341"},{"id":1250943,"name":"Bagpipe","url":"https://www.academia.edu/Documents/in/Bagpipe?f_ri=614341"},{"id":1321708,"name":"Scottish and Irish Medieval History","url":"https://www.academia.edu/Documents/in/Scottish_and_Irish_Medieval_History?f_ri=614341"},{"id":2044769,"name":"Bagpipe music","url":"https://www.academia.edu/Documents/in/Bagpipe_music?f_ri=614341"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=614341"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=614341"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=614341"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36792758" data-work_id="36792758" 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/36792758/Johannes_Mittner_d_c_1530_Sanctus_from_Missa_Hercules_Dux_Ferrarae_Source_Das_Chorbuch_Regensburg_Staatliche_Bibliothek_Ms_2o_Liturg_18_1543_ff_1v_32r_aka_Chorbuch_S_im_Kapell_Inventar_des_Pfalzgrafen_Ottheinrich_1544_">Johannes Mittner (d. c. 1530): "Sanctus" from "Missa Hercules Dux Ferrarae" (Source: Das Chorbuch Regensburg, Staatliche Bibliothek, Ms. 2o Liturg. 18 (1543), ff. 1v-32r. aka "Chorbuch S im Kapell-Inventar des Pfalzgrafen Ottheinrich, 1544")</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36792758" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the Renaissance - five voices from one.<br /><br />For a audio-visual animation with recording see the link here:<br /><a href="https://www.youtube.com/watch?v=FCe7WGoJVLI" rel="nofollow">https://www.youtube.com/watch?v=FCe7WGoJVLI</a><br /><br />Johannes Mittner: Missa Hercules Dux Ferrarae, Sanctus<br />Sanctus a4, <br />Pleni sunt coeli a2, <br />Osanna I a5 mensuration canon,<br />Benedictus a4<br />Osanna II a3</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/36792758" 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="1381085f80a7f81a4f07ba4121686076" rel="nofollow" data-download="{"attachment_id":56741442,"asset_id":36792758,"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/56741442/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_36792758 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36792758"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36792758, container: ".js-paper-rank-work_36792758", }); 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$(".js-view-count[data-work-id=36792758]").text(description); $(".js-view-count-work_36792758").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_36792758").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="36792758"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">94</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="683" href="https://www.academia.edu/Documents/in/Music_Education">Music Education</a>, <script data-card-contents-for-ri="683" type="text/json">{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36792758]'), work: {"id":36792758,"title":"Johannes Mittner (d. c. 1530): \"Sanctus\" from \"Missa Hercules Dux Ferrarae\" (Source: Das Chorbuch Regensburg, Staatliche Bibliothek, Ms. 2o Liturg. 18 (1543), ff. 1v-32r. aka \"Chorbuch S im Kapell-Inventar des Pfalzgrafen Ottheinrich, 1544\")","created_at":"2018-06-06T09:07:48.982-07:00","url":"https://www.academia.edu/36792758/Johannes_Mittner_d_c_1530_Sanctus_from_Missa_Hercules_Dux_Ferrarae_Source_Das_Chorbuch_Regensburg_Staatliche_Bibliothek_Ms_2o_Liturg_18_1543_ff_1v_32r_aka_Chorbuch_S_im_Kapell_Inventar_des_Pfalzgrafen_Ottheinrich_1544_?f_ri=614341","dom_id":"work_36792758","summary":"A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the Renaissance - five voices from one.\n\nFor a audio-visual animation with recording see the link here:\nhttps://www.youtube.com/watch?v=FCe7WGoJVLI\n\nJohannes Mittner: Missa Hercules Dux Ferrarae, Sanctus\nSanctus a4, \nPleni sunt coeli a2, \nOsanna I a5 mensuration canon,\nBenedictus a4\nOsanna II a3","downloadable_attachments":[{"id":56741442,"asset_id":36792758,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":683,"name":"Music Education","url":"https://www.academia.edu/Documents/in/Music_Education?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341"},{"id":2987,"name":"Renaissance 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Andrews (The Technique of Byrd’s Vocal Polyphony) have proposed taxonomies for Renaissance music, based primarily on... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42833201" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Authors such as Knud Jeppesen, with his work on Palestrina (The Style of Palestrina and the Dissonance), and Harold K. Andrews (The Technique of Byrd’s Vocal Polyphony) have proposed taxonomies for Renaissance music, based primarily on dissonance treatment. However, there has been much less discussion in the literature of formal issues in Renaissance music: which types of musical material characterize openings, and which suggest development or continuation. This approach recalls William Caplin’s analytic method in Classical Form, in which he shows how each small musical unit has a particular formal function in creating the overall shape of a composition.<br /><br />Peter N. Schubert’s work in this area, in his article “A Lesson from Lassus: Form in the Duos of 1577,” and his text, Modal Counterpoint: Renaissance Style, is a point of departure for the current study. In his text, Schubert identifies “presentation types,” brief imitative or non-imitative musical units that characterize openings, loosely analogous to Caplin’s “basic idea.” In Schubert’s article, he describes how Renaissance composers employed varied repetition of these openings to create longer formal units. Similarly, Jessie Ann Owens, in Composers at Work, has noted how Renaissance composers design short, multi-voiced “modules,” around which they construct longer formal units (such “modules” recall Joseph Kerman’s notion of  “cell technique,” first expounded in “Old and New in Byrd’s Cantiones Sacrae”). These authors proceed from the assumption that Renaissance composers did indeed concern themselves with form, insofar as they strove toward designing long, musically unified sections from a brief opening idea.<br /><br />Schubert’s work focuses on presentation types that are possible in a thin texture, namely, the imitative duo and the non-imitative module. Schubert also discusses imitative presentation in three or more voices, which he defines as a canon (an imitative duo with extra voices added at a consistent time interval of imitation). However, Schubert domits certain other possibilities in three or more voices, in which characteristics of the imitative module and non-imitative duo are blended into a hybrid presentation type. This paper, extending Schubert’s principles, proposes additional presentation types with which Byrd can begin a formal unit. These types, beginning with Schubert’s original three (imitative duo, non-imitative module and canon), will be examined, starting with presentation types in two voices, and proceeding through more intricate types in three and four voices. To list two of many possible hybrids that blend features of Schubert’s three presentation types: in a three-voice texture, two of the voices could form an imitative duo while a third voice provides homophonic support (semi-imitative presentation). Similarly, in four voices, a supporting part could underpin a three-voice canon (accompanied canon).<br /><br />After introducing these presentation types, I will demonstrate how William Byrd distinguishes between opening gestures of varying musical weight and formal location in a composition by the kind of presentation type he uses to begin a formal unit. Byrd uses a limited number of presentation types at the beginning of a composition, but permits a wider range of initiating possibilities later in a work. Still other presentation types are unlikely to occur as beginnings at all, but rather arise from later variation and development of material whose initial presentation had been straightforward. <br /><br />A feature of hybrid presentation types that is significant for their formal shape is their tendency to combine elements of presentation with elements of development. For example, a three-voice canon could combine the presentation of an imitative duo (formed by the first two entries) with its immediate transposed repetition (created by the second and third entries). This blending of beginning and middle (development) characteristics is a unique feature of Renaissance style that makes problematic the establishment of fixed categories of presentation and continuation, a problem that less often arises in post-Renaissance music. In Byrd’s music, and by extension, that of his contemporaries, the musical surface demands a more flexible approach in determining points of demarcation between formal building blocks: often, the opening presentational unit will blend imperceptibly with its subsequent continuation.<br /><br />Finally, I will show how the developmental procedures inherent in hybrid presentation types points toward certain variation techniques (transposition, invertible counterpoint, textural thickening) that Byrd employs to develop his musical ideas. Using examples from Byrd’s three sets of Cantiones Sacrae (published 1575, 1589 and 1591), I will illustrate how a Renaissance composer can vary and expand initiating units to create a long span of musical material. I will furthermore show how this progression of material divides into presentation, continuation and conclusion units, based on the contrapuntal techniques that the composer uses in each of these three formal locations.</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/42833201" 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="74f8250b7027d40fb1b583f54aef58bf" rel="nofollow" data-download="{"attachment_id":63066858,"asset_id":42833201,"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/63066858/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="61038446" href="https://loyno.academia.edu/JamesMacKay">James S . 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In his text, Schubert identifies “presentation types,” brief imitative or non-imitative musical units that characterize openings, loosely analogous to Caplin’s “basic idea.” In Schubert’s article, he describes how Renaissance composers employed varied repetition of these openings to create longer formal units. Similarly, Jessie Ann Owens, in Composers at Work, has noted how Renaissance composers design short, multi-voiced “modules,” around which they construct longer formal units (such “modules” recall Joseph Kerman’s notion of “cell technique,” first expounded in “Old and New in Byrd’s Cantiones Sacrae”). These authors proceed from the assumption that Renaissance composers did indeed concern themselves with form, insofar as they strove toward designing long, musically unified sections from a brief opening idea.\n\nSchubert’s work focuses on presentation types that are possible in a thin texture, namely, the imitative duo and the non-imitative module. Schubert also discusses imitative presentation in three or more voices, which he defines as a canon (an imitative duo with extra voices added at a consistent time interval of imitation). However, Schubert domits certain other possibilities in three or more voices, in which characteristics of the imitative module and non-imitative duo are blended into a hybrid presentation type. This paper, extending Schubert’s principles, proposes additional presentation types with which Byrd can begin a formal unit. These types, beginning with Schubert’s original three (imitative duo, non-imitative module and canon), will be examined, starting with presentation types in two voices, and proceeding through more intricate types in three and four voices. To list two of many possible hybrids that blend features of Schubert’s three presentation types: in a three-voice texture, two of the voices could form an imitative duo while a third voice provides homophonic support (semi-imitative presentation). Similarly, in four voices, a supporting part could underpin a three-voice canon (accompanied canon).\n\nAfter introducing these presentation types, I will demonstrate how William Byrd distinguishes between opening gestures of varying musical weight and formal location in a composition by the kind of presentation type he uses to begin a formal unit. Byrd uses a limited number of presentation types at the beginning of a composition, but permits a wider range of initiating possibilities later in a work. Still other presentation types are unlikely to occur as beginnings at all, but rather arise from later variation and development of material whose initial presentation had been straightforward. \n\nA feature of hybrid presentation types that is significant for their formal shape is their tendency to combine elements of presentation with elements of development. For example, a three-voice canon could combine the presentation of an imitative duo (formed by the first two entries) with its immediate transposed repetition (created by the second and third entries). This blending of beginning and middle (development) characteristics is a unique feature of Renaissance style that makes problematic the establishment of fixed categories of presentation and continuation, a problem that less often arises in post-Renaissance music. In Byrd’s music, and by extension, that of his contemporaries, the musical surface demands a more flexible approach in determining points of demarcation between formal building blocks: often, the opening presentational unit will blend imperceptibly with its subsequent continuation.\n\nFinally, I will show how the developmental procedures inherent in hybrid presentation types points toward certain variation techniques (transposition, invertible counterpoint, textural thickening) that Byrd employs to develop his musical ideas. Using examples from Byrd’s three sets of Cantiones Sacrae (published 1575, 1589 and 1591), I will illustrate how a Renaissance composer can vary and expand initiating units to create a long span of musical material. I will furthermore show how this progression of material divides into presentation, continuation and conclusion units, based on the contrapuntal techniques that the composer uses in each of these three formal locations.\n","downloadable_attachments":[{"id":63066858,"asset_id":42833201,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":61038446,"first_name":"James","last_name":"MacKay","domain_name":"loyno","page_name":"JamesMacKay","display_name":"James S . MacKay","profile_url":"https://loyno.academia.edu/JamesMacKay?f_ri=614341","photo":"https://0.academia-photos.com/61038446/16727083/34188074/s65_james.mackay.jpeg"}],"research_interests":[{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341","nofollow":false},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=614341","nofollow":false},{"id":53275,"name":"Vocal Polyphony","url":"https://www.academia.edu/Documents/in/Vocal_Polyphony?f_ri=614341","nofollow":false},{"id":58768,"name":"English Musical Renaissance","url":"https://www.academia.edu/Documents/in/English_Musical_Renaissance?f_ri=614341","nofollow":false},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=614341"},{"id":165924,"name":"William Byrd","url":"https://www.academia.edu/Documents/in/William_Byrd?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":1236838,"name":"Canons In Early Music","url":"https://www.academia.edu/Documents/in/Canons_In_Early_Music?f_ri=614341"},{"id":1356514,"name":"William Caplin","url":"https://www.academia.edu/Documents/in/William_Caplin?f_ri=614341"},{"id":1792989,"name":"Formenlehre","url":"https://www.academia.edu/Documents/in/Formenlehre?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_30059997" data-work_id="30059997" 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/30059997/Llibre_Vermell_Caca_O_Virgo_Splendens_c_14th_century_Monasterio_de_Santa_Maria_E_MO_MS_1_Llibre_Vermell_de_Montserrat_no_1_fols_21v_22r">Llibre Vermell: Caca, "O Virgo Splendens" (c. 14th century): Monasterio de Santa Maria [E-MO] MS 1 "Llibre Vermell de Montserrat" no. 1 fols. 21v. - 22r.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30059997" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the most stylistically remote. It is the only piece not notated or composed in the contemporary style of the Ars Nova. Rather, its notation and style harken to previous centuries, possibly as recent as the discant style of the Parisian school of Notre Dame or of Santiago de Compostela from the 12th and 13th century, or as old as the free organum style of the 10th and 11th centuries such as that found in the Ad organum faciendum. Given its apparent lack of rhythmic mode of any kind, its relation to the 10th and 11th centuries seem more likely.<br /><br />For a video of the score with a recorded performance visit <br /><a href="https://www.youtube.com/watch?v=5BkzBK5-oDw" rel="nofollow">https://www.youtube.com/watch?v=5BkzBK5-oDw</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/30059997" 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="0f6d2ee90835cd034fb3431d28bdc340" rel="nofollow" data-download="{"attachment_id":50510112,"asset_id":30059997,"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/50510112/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_30059997 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30059997"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30059997, container: ".js-paper-rank-work_30059997", }); 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$(".js-view-count[data-work-id=30059997]").text(description); $(".js-view-count-work_30059997").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30059997").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="30059997"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">64</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="976" href="https://www.academia.edu/Documents/in/Composition_and_Rhetoric">Composition and Rhetoric</a>, <script data-card-contents-for-ri="976" type="text/json">{"id":976,"name":"Composition and Rhetoric","url":"https://www.academia.edu/Documents/in/Composition_and_Rhetoric?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2853" href="https://www.academia.edu/Documents/in/Medieval_Studies">Medieval Studies</a>, <script data-card-contents-for-ri="2853" type="text/json">{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3796" href="https://www.academia.edu/Documents/in/Composition_Music_">Composition (Music)</a><script data-card-contents-for-ri="3796" type="text/json">{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30059997]'), work: {"id":30059997,"title":"Llibre Vermell: Caca, \"O Virgo Splendens\" (c. 14th century): Monasterio de Santa Maria [E-MO] MS 1 \"Llibre Vermell de Montserrat\" no. 1 fols. 21v. - 22r.","created_at":"2016-11-23T15:19:07.593-08:00","url":"https://www.academia.edu/30059997/Llibre_Vermell_Caca_O_Virgo_Splendens_c_14th_century_Monasterio_de_Santa_Maria_E_MO_MS_1_Llibre_Vermell_de_Montserrat_no_1_fols_21v_22r?f_ri=614341","dom_id":"work_30059997","summary":"A critical transcription of the three-voice Caça (“chace” or canon) known as “O Virgo Splendens” (“O splendorous virgin”), the first in the small collection of music from the Llibre Vermell. It is perhaps the oddest of the set, being the most stylistically remote. It is the only piece not notated or composed in the contemporary style of the Ars Nova. Rather, its notation and style harken to previous centuries, possibly as recent as the discant style of the Parisian school of Notre Dame or of Santiago de Compostela from the 12th and 13th century, or as old as the free organum style of the 10th and 11th centuries such as that found in the Ad organum faciendum. Given its apparent lack of rhythmic mode of any kind, its relation to the 10th and 11th centuries seem more likely.\n\nFor a video of the score with a recorded performance visit \nhttps://www.youtube.com/watch?v=5BkzBK5-oDw","downloadable_attachments":[{"id":50510112,"asset_id":30059997,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":976,"name":"Composition and 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35489748" data-work_id="35489748" 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/35489748/Pierre_de_la_Rue_Missa_lHomme_arme_Agnus_Dei_II_mensuration_canon_scroll_edition_Source_Bibliotheque_Royale_Albert_I_Brussels_Belgium_B_BR_MS_9126_FOL_40v_43r_">Pierre de la Rue: Missa l'Homme arme, Agnus Dei II (mensuration canon scroll edition) (Source: Bibliotheque Royale Albert I, Brussels, Belgium (B-BR), MS 9126, FOL. 40v-43r)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A scroll edition of Pierre de la Rue's "Agnus dei II" from his "Missa l'Homme arme" featuring his famous 4-voiced prolation canon.<br /><br />For a recording and score-video of the piece see the link:<br /><a href="https://www.youtube.com/watch?v=IrTtLNfq0x0" rel="nofollow">https://www.youtube.com/watch?v=IrTtLNfq0x0</a></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/35489748" 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="1a39776c791134f29b76895e63b3c3ac" rel="nofollow" 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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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9721" href="https://www.academia.edu/Documents/in/Music_Aesthetics">Music Aesthetics</a>, <script data-card-contents-for-ri="9721" type="text/json">{"id":9721,"name":"Music Aesthetics","url":"https://www.academia.edu/Documents/in/Music_Aesthetics?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14954" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" 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=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5701866]'), work: {"id":5701866,"title":"La Música de las Esferas (Prólogo)","created_at":"2014-01-13T08:13:06.421-08:00","url":"https://www.academia.edu/5701866/La_M%C3%BAsica_de_las_Esferas_Pr%C3%B3logo_?f_ri=614341","dom_id":"work_5701866","summary":null,"downloadable_attachments":[{"id":61047474,"asset_id":5701866,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8249999,"first_name":"Pablo","last_name":"Massa","domain_name":"uba","page_name":"PabloMassa","display_name":"Pablo 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philosophy","url":"https://www.academia.edu/Documents/in/Music_and_philosophy?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_69722148" data-work_id="69722148" 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/69722148/Beowulf_and_Lejre">Beowulf and Lejre</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/69722148" 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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="2031188" href="https://ucdavis.academia.edu/MarijaneOsborn">Marijane Osborn</a><script data-card-contents-for-user="2031188" type="text/json">{"id":2031188,"first_name":"Marijane","last_name":"Osborn","domain_name":"ucdavis","page_name":"MarijaneOsborn","display_name":"Marijane Osborn","profile_url":"https://ucdavis.academia.edu/MarijaneOsborn?f_ri=614341","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_69722148 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="69722148"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 69722148, container: ".js-paper-rank-work_69722148", }); });</script></li><li 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var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=69722148]").text(description); $(".js-view-count-work_69722148").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_69722148").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="69722148"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2371" href="https://www.academia.edu/Documents/in/Anglo-Saxon_Studies">Anglo-Saxon Studies</a>, <script data-card-contents-for-ri="2371" type="text/json">{"id":2371,"name":"Anglo-Saxon Studies","url":"https://www.academia.edu/Documents/in/Anglo-Saxon_Studies?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14253" href="https://www.academia.edu/Documents/in/Viking_Age_Archaeology">Viking Age Archaeology</a>, <script data-card-contents-for-ri="14253" type="text/json">{"id":14253,"name":"Viking Age Archaeology","url":"https://www.academia.edu/Documents/in/Viking_Age_Archaeology?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="38416" href="https://www.academia.edu/Documents/in/Danish_History">Danish History</a><script data-card-contents-for-ri="38416" type="text/json">{"id":38416,"name":"Danish 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Studies","url":"https://www.academia.edu/Documents/in/Anglo-Saxon_Studies?f_ri=614341","nofollow":false},{"id":14253,"name":"Viking Age Archaeology","url":"https://www.academia.edu/Documents/in/Viking_Age_Archaeology?f_ri=614341","nofollow":false},{"id":38416,"name":"Danish History","url":"https://www.academia.edu/Documents/in/Danish_History?f_ri=614341","nofollow":false},{"id":42752,"name":"Anglo-Saxon/Anglo-Scandinavian settlement","url":"https://www.academia.edu/Documents/in/Anglo-Saxon_Anglo-Scandinavian_settlement?f_ri=614341"},{"id":65131,"name":"Iron Age archaeology","url":"https://www.academia.edu/Documents/in/Iron_Age_archaeology?f_ri=614341"},{"id":166177,"name":"Anglo Saxon Archaeology","url":"https://www.academia.edu/Documents/in/Anglo_Saxon_Archaeology?f_ri=614341"},{"id":261331,"name":"Archaeology Of The Migration Period And The Early Middle Ages","url":"https://www.academia.edu/Documents/in/Archaeology_Of_The_Migration_Period_And_The_Early_Middle_Ages?f_ri=614341"},{"id":339838,"name":"Central Places","url":"https://www.academia.edu/Documents/in/Central_Places?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":2901363,"name":"Lejre Hall","url":"https://www.academia.edu/Documents/in/Lejre_Hall?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42546156" data-work_id="42546156" 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/42546156/Canonic_Virelai_upon_a_Harp_La_Harpe_de_Mellodie_Jacob_Senleches_fl_c_1382_1395_Source_Newberry_Library_Chicago_US_Cn_MS_54_1_f_10r_and_Mus%C3%A9e_Cond%C3%A9_Chantilly_F_CH_MS_564_Chantilly_Codex_f_43v_">Canonic Virelai upon a Harp, "La Harpe de Mellodie," Jacob Senleches (fl. c. 1382 - 1395) (Source: Newberry Library, Chicago [US-Cn], MS 54.1 f. 10r & Musée Condé, Chantilly [F-CH], MS 564 “Chantilly Codex.” f. 43v.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">For a video animation of this piece see: <a href="https://www.youtube.com/watch?v=Vm6WqK3cr_8" rel="nofollow">https://www.youtube.com/watch?v=Vm6WqK3cr_8</a> This is a pedagogical edition of Senleches' famous piece of augenmusik, "La Harpe de Mellodie" from the 14th century. Find herein complete explanations... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42546156" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">For a video animation of this piece see: <a href="https://www.youtube.com/watch?v=Vm6WqK3cr_8" rel="nofollow">https://www.youtube.com/watch?v=Vm6WqK3cr_8</a><br /><br />This is a pedagogical edition of Senleches' famous piece of augenmusik, "La Harpe de Mellodie" from the 14th century. Find herein complete explanations of all parts of the piece (pictorial, poetical, musical, formal, etc.). Complete translations of all texts are provided along with an explanation of translations methodology and problems. Complete high-resolution graphics of the two sources are included with two different possible realizations of the riddle canon.</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/42546156" 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="bf5e1285f7a1175e9e16cc9c94ea21f2" rel="nofollow" data-download="{"attachment_id":62735181,"asset_id":42546156,"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/62735181/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_42546156 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42546156"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42546156, container: ".js-paper-rank-work_42546156", }); 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$(".js-view-count[data-work-id=42546156]").text(description); $(".js-view-count-work_42546156").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42546156").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="42546156"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15841" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16420" href="https://www.academia.edu/Documents/in/Medieval_Music">Medieval Music</a><script data-card-contents-for-ri="16420" type="text/json">{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42546156]'), work: {"id":42546156,"title":"Canonic Virelai upon a Harp, \"La Harpe de Mellodie,\" Jacob Senleches (fl. c. 1382 - 1395) (Source: Newberry Library, Chicago [US-Cn], MS 54.1 f. 10r \u0026 Musée Condé, Chantilly [F-CH], MS 564 “Chantilly Codex.” f. 43v.)","created_at":"2020-04-02T06:30:11.051-07:00","url":"https://www.academia.edu/42546156/Canonic_Virelai_upon_a_Harp_La_Harpe_de_Mellodie_Jacob_Senleches_fl_c_1382_1395_Source_Newberry_Library_Chicago_US_Cn_MS_54_1_f_10r_and_Mus%C3%A9e_Cond%C3%A9_Chantilly_F_CH_MS_564_Chantilly_Codex_f_43v_?f_ri=614341","dom_id":"work_42546156","summary":"For a video animation of this piece see: https://www.youtube.com/watch?v=Vm6WqK3cr_8\n\nThis is a pedagogical edition of Senleches' famous piece of augenmusik, \"La Harpe de Mellodie\" from the 14th century. Find herein complete explanations of all parts of the piece (pictorial, poetical, musical, formal, etc.). Complete translations of all texts are provided along with an explanation of translations methodology and problems. Complete high-resolution graphics of the two sources are included with two different possible realizations of the riddle canon.","downloadable_attachments":[{"id":62735181,"asset_id":42546156,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341","nofollow":false},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341"},{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=614341"},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=614341"},{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=614341"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=614341"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=614341"},{"id":136113,"name":"Ars nova","url":"https://www.academia.edu/Documents/in/Ars_nova?f_ri=614341"},{"id":165031,"name":"Ars Antiqua Motet","url":"https://www.academia.edu/Documents/in/Ars_Antiqua_Motet?f_ri=614341"},{"id":173187,"name":"Trecento Music","url":"https://www.academia.edu/Documents/in/Trecento_Music?f_ri=614341"},{"id":281760,"name":"Musical Canon","url":"https://www.academia.edu/Documents/in/Musical_Canon?f_ri=614341"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":315173,"name":"Ars subtilior","url":"https://www.academia.edu/Documents/in/Ars_subtilior?f_ri=614341"},{"id":436716,"name":"Trecento and Quattrocento Italian Art","url":"https://www.academia.edu/Documents/in/Trecento_and_Quattrocento_Italian_Art?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":634422,"name":"Medieval Musical Notation","url":"https://www.academia.edu/Documents/in/Medieval_Musical_Notation?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34279163" data-work_id="34279163" 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/34279163/Alexander_Agricola_Contrafacta_Motet_Virgo_sub_ethereis_Source_Berlin_Deutsche_Staatsbibliothek_MS_40021_ff_131v_132r_">Alexander Agricola: Contrafacta Motet, "Virgo sub ethereis" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">A non-barred critical transcription of Alexander Agricola's contrafacta motet, "Virgo sub ethereis" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r) as derived from his "Comme femme desconfortée". For a video of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34279163" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">A non-barred critical transcription of Alexander Agricola's contrafacta motet, "Virgo sub ethereis" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r) as derived from his "Comme femme desconfortée". <br /> <br />For a video of the score with a performance recording see the link below: <br /><a href="https://www.youtube.com/watch?v=5_nnTzNXeUY" rel="nofollow">https://www.youtube.com/watch?v=5_nnTzNXeUY</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/34279163" 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="a5e7db868dd8c43b8eed7f7059a86ef8" rel="nofollow" data-download="{"attachment_id":54185801,"asset_id":34279163,"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/54185801/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_34279163 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34279163"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34279163, container: ".js-paper-rank-work_34279163", }); });</script></li><li 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var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=34279163]").text(description); $(".js-view-count-work_34279163").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_34279163").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="34279163"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">51</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" 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=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34279163]'), work: {"id":34279163,"title":"Alexander Agricola: Contrafacta Motet, \"Virgo sub ethereis\" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r)","created_at":"2017-08-19T22:06:56.556-07:00","url":"https://www.academia.edu/34279163/Alexander_Agricola_Contrafacta_Motet_Virgo_sub_ethereis_Source_Berlin_Deutsche_Staatsbibliothek_MS_40021_ff_131v_132r_?f_ri=614341","dom_id":"work_34279163","summary":"A non-barred critical transcription of Alexander Agricola's contrafacta motet, \"Virgo sub ethereis\" (Source: Berlin, Deutsche Staatsbibliothek, MS 40021 ff. 131v-132r) as derived from his \"Comme femme desconfortée\".\r\n\r\nFor a video of the score with a performance recording see the link below:\r\nhttps://www.youtube.com/watch?v=5_nnTzNXeUY","downloadable_attachments":[{"id":54185801,"asset_id":34279163,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=614341","nofollow":false},{"id":3612,"name":"Renaissance","url":"https://www.academia.edu/Documents/in/Renaissance?f_ri=614341"},{"id":3796,"name":"Composition (Music)","url":"https://www.academia.edu/Documents/in/Composition_Music_?f_ri=614341"},{"id":8325,"name":"History of Musical Composition","url":"https://www.academia.edu/Documents/in/History_of_Musical_Composition?f_ri=614341"},{"id":10604,"name":"History of Music Theory","url":"https://www.academia.edu/Documents/in/History_of_Music_Theory?f_ri=614341"},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341"},{"id":17479,"name":"Music Composition","url":"https://www.academia.edu/Documents/in/Music_Composition?f_ri=614341"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341"},{"id":22842,"name":"14th-16th Centuries Counterpoint","url":"https://www.academia.edu/Documents/in/14th-16th_Centuries_Counterpoint?f_ri=614341"},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=614341"},{"id":24365,"name":"History of Musicology","url":"https://www.academia.edu/Documents/in/History_of_Musicology?f_ri=614341"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=614341"},{"id":32242,"name":"Form (Music Theory)","url":"https://www.academia.edu/Documents/in/Form_Music_Theory_?f_ri=614341"},{"id":32861,"name":"Renaissance Music (Music)","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Music_?f_ri=614341"},{"id":35456,"name":"15th Century Burgundy","url":"https://www.academia.edu/Documents/in/15th_Century_Burgundy?f_ri=614341"},{"id":67681,"name":"Burgundian history","url":"https://www.academia.edu/Documents/in/Burgundian_history?f_ri=614341"},{"id":67682,"name":"Burgundian Low Countries","url":"https://www.academia.edu/Documents/in/Burgundian_Low_Countries?f_ri=614341"},{"id":71569,"name":"Cultural History of Music","url":"https://www.academia.edu/Documents/in/Cultural_History_of_Music?f_ri=614341"},{"id":71582,"name":"Valois Burgundy","url":"https://www.academia.edu/Documents/in/Valois_Burgundy?f_ri=614341"},{"id":78679,"name":"Music Theory and Music Analysis","url":"https://www.academia.edu/Documents/in/Music_Theory_and_Music_Analysis?f_ri=614341"},{"id":127008,"name":"Burgundian Netherlands","url":"https://www.academia.edu/Documents/in/Burgundian_Netherlands?f_ri=614341"},{"id":139040,"name":"Medieval, Renaissance and Baroque Music","url":"https://www.academia.edu/Documents/in/Medieval_Renaissance_and_Baroque_Music?f_ri=614341"},{"id":141529,"name":"Burgundian 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includes his famous 4 voice prolation canon.<br /><br />For a recording and score video, see the link here:<br /><a href="https://www.youtube.com/watch?v=IrTtLNfq0x0" rel="nofollow">https://www.youtube.com/watch?v=IrTtLNfq0x0</a></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/35489650" 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="65340938de89c41aab10f8b5c32ac9ec" rel="nofollow" data-download="{"attachment_id":55352529,"asset_id":35489650,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2536656,"name":"Mensuration Canon","url":"https://www.academia.edu/Documents/in/Mensuration_Canon?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33186580" data-work_id="33186580" 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/33186580/Lorenzo_da_Firenze_d_1372_73_Caccia_A_poste_messe_with_Italian_and_English_lyrical_text_underlay_Source_Biblioteca_Medicea_Laurenziana_I_Fl_MS_Mediceo_Palatino_87_Codex_Squarcialupi_fol_25v_26r_">Lorenzo da Firenze (d. 1372/73): Caccia, "A poste messe" (with Italian and English lyrical text underlay) Source: Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87 “Codex Squarcialupi”, fol 25v-26r.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Edition of Lorenzo da Firenze's caccia, "A poste messe" with english lyrical text underlay. For a video-score of this edition with a recording see the link below: <a href="https://www.youtube.com/watch?v=UN1dFq0jK-U" rel="nofollow">https://www.youtube.com/watch?v=UN1dFq0jK-U</a> Transcribed from the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33186580" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Edition of Lorenzo da Firenze's caccia, "A poste messe" with english lyrical text underlay. For a video-score of this edition with a recording see the link below:<br /><br /><a href="https://www.youtube.com/watch?v=UN1dFq0jK-U" rel="nofollow">https://www.youtube.com/watch?v=UN1dFq0jK-U</a><br /><br />Transcribed from the Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87, “Codex Squarcialupi”, fol 25v-26r and the<br />Biblioteca Nazionale Centrale, Florence (Firenze), Italy [I-Fn], MS Panciatichiano 26, "Panciatichi", fol. 76v-77r.<br /><br />The form of this piece is canonic with monophonic (?) ritornello. As indicated in the codices, the first part of the piece is clearly a canon for ether two or three voices. The second part, however, gives no sign that it should be performed canonically. Furthermore, there seems to be no reasonable way to render the second half of this piece as a canon without numerous and egregious counterpoint errors. Thus, it is generally accepted that the Ritornello is not a canon like the first part. <br /><br />The second part can be performed monophonically or by many voices in octaves. However, many recordings have taken the liberty to arrange polyphonic parts to fit with the given monophonic line. Most such arrangements borrow material from the monophonic line, parts of which work contrapuntally well together when isolated and extracted arbitrarily.</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/33186580" 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="e7e1fcce0ee8c35acaa2dfbaf0253cf8" rel="nofollow" data-download="{"attachment_id":53269471,"asset_id":33186580,"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/53269471/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_33186580 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33186580"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33186580, container: ".js-paper-rank-work_33186580", }); 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For a video-score of this edition with a recording see the link below:\n\nhttps://www.youtube.com/watch?v=UN1dFq0jK-U\n\nTranscribed from the Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87, “Codex Squarcialupi”, fol 25v-26r and the\nBiblioteca Nazionale Centrale, Florence (Firenze), Italy [I-Fn], MS Panciatichiano 26, \"Panciatichi\", fol. 76v-77r.\n\nThe form of this piece is canonic with monophonic (?) ritornello. As indicated in the codices, the first part of the piece is clearly a canon for ether two or three voices. The second part, however, gives no sign that it should be performed canonically. Furthermore, there seems to be no reasonable way to render the second half of this piece as a canon without numerous and egregious counterpoint errors. Thus, it is generally accepted that the Ritornello is not a canon like the first part. \n\nThe second part can be performed monophonically or by many voices in octaves. 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Most such arrangements borrow material from the monophonic line, parts of which work contrapuntally well together when isolated and extracted arbitrarily.","downloadable_attachments":[{"id":53269471,"asset_id":33186580,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":681,"name":"Early Music","url":"https://www.academia.edu/Documents/in/Early_Music?f_ri=614341","nofollow":false},{"id":683,"name":"Music 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nova","url":"https://www.academia.edu/Documents/in/french_ars_nova?f_ri=614341"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=614341"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=614341"},{"id":2524417,"name":"Key, Jordan","url":"https://www.academia.edu/Documents/in/Key_Jordan?f_ri=614341"},{"id":2524418,"name":"Jordan A. Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2592732,"name":"Codex Squarcialupi","url":"https://www.academia.edu/Documents/in/Codex_Squarcialupi?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39521685" data-work_id="39521685" 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/39521685/Jacquet_de_Mantua_1483_1559_motet_a5_Aspice_Domine_Source_Biblioteca_Vallicelliana_Rome_Italy_I_Rv_S1_35_38_and_40_fol_7_">Jacquet de Mantua (1483 - 1559): motet a5, "Aspice Domine" (Source: Biblioteca Vallicelliana, Rome, Italy [I-Rv], S1 35-38 & 40, fol. 7)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An edition of Jacquet de Mantua's famous 16th century five-voiced motet "Aspice Domine." For a complete recording and animated score-video see link --- <a href="https://www.youtube.com/watch?v=FpdbJPxWJ5s" rel="nofollow">https://www.youtube.com/watch?v=FpdbJPxWJ5s</a></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/39521685" 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="b155171511d8632071990a44f481c4b3" rel="nofollow" data-download="{"attachment_id":59671218,"asset_id":39521685,"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 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39521685"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="681" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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js-work-link" href="https://www.academia.edu/35468277/Alexander_Agricola_Instrumental_chanson_Tandernaken_op_den_rijn_Source_Segovia_Catedral_Archivo_musical_codex_without_shelf_number_fol_CLXIv_CLXIr_">Alexander Agricola: Instrumental chanson, "Tandernaken, op den rijn" (Source: Segovia Catedral, Archivo musical, codex without shelf number, fol. CLXIv - CLXIr)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A transcription of Alexander Agricola's (1457/58 - 1506) "Tandernaken." For a recording with a score video see the link below: <br /><a href="https://www.youtube.com/watch?v=nac6QU2rhGQ" rel="nofollow">https://www.youtube.com/watch?v=nac6QU2rhGQ</a></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/35468277" 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="a24d3966b91f49c0f4b4fa2d0fe95d1b" rel="nofollow" data-download="{"attachment_id":55330854,"asset_id":35468277,"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/55330854/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_35468277 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35468277"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35468277, container: ".js-paper-rank-work_35468277", }); 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"},{"id":2551688,"name":"Transcription (Music)","url":"https://www.academia.edu/Documents/in/Transcription_Music_?f_ri=614341"},{"id":2815165,"name":"Dutch Music History","url":"https://www.academia.edu/Documents/in/Dutch_Music_History?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38119619" data-work_id="38119619" 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/38119619/Jacob_Obrecht_Duet_on_Regina_Caeli_Source_Segovia_Catedral_Archivo_Musical_codex_without_shelf_number_fol_CCv_Regina_caeli_i_i_Jacobus_Hobrecht_">Jacob Obrecht: Duet on "Regina Caeli" (Source: Segovia, Catedral, Archivo Musical, codex without shelf number, fol. CCv. "Regina caeli" (i, i), "Jacobus Hobrecht")</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A transcription of Jacob Obrecht's duet on the Marian Antiphon for the Hour of Compline, "Regina Caeli." This is one of Obrecht's unicum. For a recording and score video see the link below: <a href="https://www.youtube.com/watch?v=Igtd4bnBlwQ" rel="nofollow">https://www.youtube.com/watch?v=Igtd4bnBlwQ</a></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/38119619" 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="fc70a1612d3defcb433bd0b0ef39953e" rel="nofollow" data-download="{"attachment_id":58149091,"asset_id":38119619,"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/58149091/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_38119619 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38119619"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38119619, container: ".js-paper-rank-work_38119619", }); 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$(".js-view-count[data-work-id=38119619]").text(description); $(".js-view-count-work_38119619").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38119619").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="38119619"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="671" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14869" href="https://www.academia.edu/Documents/in/Josquin_des_Prez">Josquin des Prez</a><script data-card-contents-for-ri="14869" type="text/json">{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38119619]'), work: {"id":38119619,"title":"Jacob Obrecht: Duet on \"Regina Caeli\" (Source: Segovia, Catedral, Archivo Musical, codex without shelf number, fol. CCv. \"Regina caeli\" (i, i), \"Jacobus Hobrecht\")","created_at":"2019-01-09T08:12:12.958-08:00","url":"https://www.academia.edu/38119619/Jacob_Obrecht_Duet_on_Regina_Caeli_Source_Segovia_Catedral_Archivo_Musical_codex_without_shelf_number_fol_CCv_Regina_caeli_i_i_Jacobus_Hobrecht_?f_ri=614341","dom_id":"work_38119619","summary":"A transcription of Jacob Obrecht's duet on the Marian Antiphon for the Hour of Compline, \"Regina Caeli.\" This is one of Obrecht's unicum. For a recording and score video see the link below: https://www.youtube.com/watch?v=Igtd4bnBlwQ","downloadable_attachments":[{"id":58149091,"asset_id":38119619,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":671,"name":"Music","url":"https://www.academia.edu/Documents/in/Music?f_ri=614341","nofollow":false},{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=614341","nofollow":false},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=614341"},{"id":22842,"name":"14th-16th Centuries Counterpoint","url":"https://www.academia.edu/Documents/in/14th-16th_Centuries_Counterpoint?f_ri=614341"},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=614341"},{"id":25068,"name":"Critical Musicology","url":"https://www.academia.edu/Documents/in/Critical_Musicology?f_ri=614341"},{"id":32861,"name":"Renaissance Music (Music)","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Music_?f_ri=614341"},{"id":35456,"name":"15th Century Burgundy","url":"https://www.academia.edu/Documents/in/15th_Century_Burgundy?f_ri=614341"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=614341"},{"id":115524,"name":"Segovia","url":"https://www.academia.edu/Documents/in/Segovia?f_ri=614341"},{"id":165916,"name":"16th-Century Polyphony","url":"https://www.academia.edu/Documents/in/16th-Century_Polyphony?f_ri=614341"},{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":696848,"name":"Pipe Organ Music","url":"https://www.academia.edu/Documents/in/Pipe_Organ_Music?f_ri=614341"},{"id":856036,"name":"Gregorian Chant and Renaissance Polyphony","url":"https://www.academia.edu/Documents/in/Gregorian_Chant_and_Renaissance_Polyphony?f_ri=614341"},{"id":1635741,"name":"Jacob Obrecht","url":"https://www.academia.edu/Documents/in/Jacob_Obrecht?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39528230" data-work_id="39528230" 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/39528230/Eyck_and_Obrecht_Bosch_and_Agricola_The_Renaissance_of_a_devil_painter_and_surly_music_maker">Eyck and Obrecht, Bosch and Agricola: The Renaissance of a “devil” painter and “surly” music maker</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Though Europe through the 14th, 15th, and 16th centuries is often characterized by the aesthetic and political revolution of Humanism, there were other aesthetic trends counter to this resurgence of Classical culture. While many artistic... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39528230" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Though Europe through the 14th, 15th, and 16th centuries is often characterized by the aesthetic and political revolution of Humanism, there were other aesthetic trends counter to this resurgence of Classical culture. While many artistic European minds were enraptured with the rebirth and development of Greek art, math, and philosophy, some continued to find expression in reinventing and redefining Gothic aesthetics, carried forwards from the late Middle Ages. There is no better case for this than in the work of composer Alexander Agricola and painter Hieronymus Bosch. While we know very little about both of these men, their work is monumental, respected, and very odd. Bosch’s art is in the vein of a late Medieval practice, featuring rudimentary perspective and an overwhelming sense of hidden symbolism, often verging on the grotesque. In the same regard, we see Medievalisms in Agricola’s rhizomic counterpoint, bizarre form, and complicated polyrhythmic conceits.<br /><br />These two artists stand as paragons for a pan-European cultural rejection to the revolution of Humanism during the Renaissance. Since the seminal 19th century survey of Renaissance music by musicologist August Wilhelm Ambros, Agricola’s work has been mostly relegated to the historical periphery as an anomaly, since it did not clearly conform to Humanist expectations of of the era. However, Ambros’s critique of Agricola’s music stands against all documented evidence from Agricola’s life, which attests to this composer’s fame and prominence, surpassed only by Josquin DesPrez according to the contemporary music theorists and composer Johannes Tinctoris. Upon closer inspection across artistic disciplines and national boundaries, Agricola’s and Bosch’s atypical aesthetic reveals itself as a cultural zeitgeist paralleling, if not countering, the revolutions of Humanism, intentionally exploring the incommensurate, arcane, surly, grotesque, and gothic side of European culture at the dawn of the early modern age.</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/39528230" 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="0e4acccae73c582c3387a745fb087125" rel="nofollow" data-download="{"attachment_id":59677778,"asset_id":39528230,"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/59677778/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}</script></span></span></li><li class="js-paper-rank-work_39528230 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39528230"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39528230, container: ".js-paper-rank-work_39528230", }); 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$(".js-view-count[data-work-id=39528230]").text(description); $(".js-view-count-work_39528230").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39528230").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="39528230"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="685" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="687" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2987" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3027" href="https://www.academia.edu/Documents/in/Renaissance_Humanism">Renaissance Humanism</a><script data-card-contents-for-ri="3027" type="text/json">{"id":3027,"name":"Renaissance Humanism","url":"https://www.academia.edu/Documents/in/Renaissance_Humanism?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39528230]'), work: {"id":39528230,"title":"Eyck and Obrecht, Bosch and Agricola: The Renaissance of a “devil” painter and “surly” music maker","created_at":"2019-06-11T23:31:57.721-07:00","url":"https://www.academia.edu/39528230/Eyck_and_Obrecht_Bosch_and_Agricola_The_Renaissance_of_a_devil_painter_and_surly_music_maker?f_ri=614341","dom_id":"work_39528230","summary":"Though Europe through the 14th, 15th, and 16th centuries is often characterized by the aesthetic and political revolution of Humanism, there were other aesthetic trends counter to this resurgence of Classical culture. While many artistic European minds were enraptured with the rebirth and development of Greek art, math, and philosophy, some continued to find expression in reinventing and redefining Gothic aesthetics, carried forwards from the late Middle Ages. There is no better case for this than in the work of composer Alexander Agricola and painter Hieronymus Bosch. While we know very little about both of these men, their work is monumental, respected, and very odd. Bosch’s art is in the vein of a late Medieval practice, featuring rudimentary perspective and an overwhelming sense of hidden symbolism, often verging on the grotesque. In the same regard, we see Medievalisms in Agricola’s rhizomic counterpoint, bizarre form, and complicated polyrhythmic conceits.\n\nThese two artists stand as paragons for a pan-European cultural rejection to the revolution of Humanism during the Renaissance. Since the seminal 19th century survey of Renaissance music by musicologist August Wilhelm Ambros, Agricola’s work has been mostly relegated to the historical periphery as an anomaly, since it did not clearly conform to Humanist expectations of of the era. However, Ambros’s critique of Agricola’s music stands against all documented evidence from Agricola’s life, which attests to this composer’s fame and prominence, surpassed only by Josquin DesPrez according to the contemporary music theorists and composer Johannes Tinctoris. Upon closer inspection across artistic disciplines and national boundaries, Agricola’s and Bosch’s atypical aesthetic reveals itself as a cultural zeitgeist paralleling, if not countering, the revolutions of Humanism, intentionally exploring the incommensurate, arcane, surly, grotesque, and gothic side of European culture at the dawn of the early modern age.","downloadable_attachments":[{"id":59677778,"asset_id":39528230,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"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=614341","photo":"https://0.academia-photos.com/6283566/2960433/67736632/s65_jordan_alexander.key.jpg"}],"research_interests":[{"id":685,"name":"Music History","url":"https://www.academia.edu/Documents/in/Music_History?f_ri=614341","nofollow":false},{"id":687,"name":"Musicology","url":"https://www.academia.edu/Documents/in/Musicology?f_ri=614341","nofollow":false},{"id":2987,"name":"Renaissance Studies","url":"https://www.academia.edu/Documents/in/Renaissance_Studies?f_ri=614341","nofollow":false},{"id":3027,"name":"Renaissance Humanism","url":"https://www.academia.edu/Documents/in/Renaissance_Humanism?f_ri=614341","nofollow":false},{"id":5124,"name":"Renaissance Art","url":"https://www.academia.edu/Documents/in/Renaissance_Art?f_ri=614341"},{"id":9900,"name":"Cultural Musicology","url":"https://www.academia.edu/Documents/in/Cultural_Musicology?f_ri=614341"},{"id":15841,"name":"16th Century Counterpoint","url":"https://www.academia.edu/Documents/in/16th_Century_Counterpoint?f_ri=614341"},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341"},{"id":19425,"name":"Polyphony","url":"https://www.academia.edu/Documents/in/Polyphony?f_ri=614341"},{"id":22845,"name":"Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Theory?f_ri=614341"},{"id":30530,"name":"History of music","url":"https://www.academia.edu/Documents/in/History_of_music?f_ri=614341"},{"id":58850,"name":"Historical Musicology","url":"https://www.academia.edu/Documents/in/Historical_Musicology?f_ri=614341"},{"id":70505,"name":"Music and the Visual Arts","url":"https://www.academia.edu/Documents/in/Music_and_the_Visual_Arts?f_ri=614341"},{"id":108777,"name":"Gothic Art","url":"https://www.academia.edu/Documents/in/Gothic_Art?f_ri=614341"},{"id":141529,"name":"Burgundian Court","url":"https://www.academia.edu/Documents/in/Burgundian_Court?f_ri=614341"},{"id":180515,"name":"Counterpoint","url":"https://www.academia.edu/Documents/in/Counterpoint?f_ri=614341"},{"id":182335,"name":"Hieronymus Bosch","url":"https://www.academia.edu/Documents/in/Hieronymus_Bosch?f_ri=614341"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":1200345,"name":"Alexander Agricola","url":"https://www.academia.edu/Documents/in/Alexander_Agricola?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36071621" data-work_id="36071621" 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/36071621/Andrea_Antico_Frottole_Intabulate_Introduction_to_Ut_Orpheus_Edition">Andrea Antico "Frottole Intabulate": Introduction to Ut Orpheus Edition</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction to the edition of Andrea Antico "Frottole intabulate da sonar organi", ed. Ut Orpheus, Bologna. Italian and English version</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/36071621" 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="dcc1d3de51d39ddd63f58417194d5009" rel="nofollow" data-download="{"attachment_id":55959451,"asset_id":36071621,"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/55959451/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="943455" href="https://conservatorio-bologna.academia.edu/MariaLuisaBaldassari">Maria Luisa Baldassari</a><script data-card-contents-for-user="943455" type="text/json">{"id":943455,"first_name":"Maria Luisa","last_name":"Baldassari","domain_name":"conservatorio-bologna","page_name":"MariaLuisaBaldassari","display_name":"Maria Luisa Baldassari","profile_url":"https://conservatorio-bologna.academia.edu/MariaLuisaBaldassari?f_ri=614341","photo":"https://0.academia-photos.com/943455/12959555/14325914/s65_maria_luisa.baldassari.jpg"}</script></span></span></li><li class="js-paper-rank-work_36071621 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="36071621"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 36071621, container: ".js-paper-rank-work_36071621", }); 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Ut Orpheus, Bologna. Italian and English version","downloadable_attachments":[{"id":55959451,"asset_id":36071621,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":943455,"first_name":"Maria Luisa","last_name":"Baldassari","domain_name":"conservatorio-bologna","page_name":"MariaLuisaBaldassari","display_name":"Maria Luisa Baldassari","profile_url":"https://conservatorio-bologna.academia.edu/MariaLuisaBaldassari?f_ri=614341","photo":"https://0.academia-photos.com/943455/12959555/14325914/s65_maria_luisa.baldassari.jpg"}],"research_interests":[{"id":691,"name":"Organ And Historical Keyboards (E.G., Harpsichord)","url":"https://www.academia.edu/Documents/in/Organ_And_Historical_Keyboards_E.G._Harpsichord_?f_ri=614341","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341","nofollow":false},{"id":32861,"name":"Renaissance Music (Music)","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Music_?f_ri=614341","nofollow":false},{"id":349243,"name":"Early Keyboard Music","url":"https://www.academia.edu/Documents/in/Early_Keyboard_Music?f_ri=614341","nofollow":false},{"id":558360,"name":"Frottole","url":"https://www.academia.edu/Documents/in/Frottole?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":846461,"name":"Leone X","url":"https://www.academia.edu/Documents/in/Leone_X?f_ri=614341"},{"id":1712645,"name":"Ottaviano Petrucci","url":"https://www.academia.edu/Documents/in/Ottaviano_Petrucci?f_ri=614341"},{"id":1886897,"name":"Intabulations","url":"https://www.academia.edu/Documents/in/Intabulations?f_ri=614341"},{"id":2808641,"name":"Andrea Antico","url":"https://www.academia.edu/Documents/in/Andrea_Antico?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12246640" data-work_id="12246640" 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/12246640/The_Metrical_Harmoniae_of_Wolfgang_Gr%C3%A4finger_and_Ludwig_Senfl_in_the_Conjunction_of_Humanism_Neoplatonism_and_Nicodemism">The Metrical Harmoniae of Wolfgang Gräfinger and Ludwig Senfl in the Conjunction of Humanism, Neoplatonism, and Nicodemism</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/12246640" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa 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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=614341","photo":"https://0.academia-photos.com/8312206/8978082/18171481/s65_grantley.mcdonald.jpg"}</script></span></span></li><li class="js-paper-rank-work_12246640 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12246640"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12246640, container: ".js-paper-rank-work_12246640", }); });</script></li><li 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var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12246640]").text(description); $(".js-view-count-work_12246640").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12246640").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="12246640"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2987" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3027" href="https://www.academia.edu/Documents/in/Renaissance_Humanism">Renaissance Humanism</a>, <script data-card-contents-for-ri="3027" type="text/json">{"id":3027,"name":"Renaissance Humanism","url":"https://www.academia.edu/Documents/in/Renaissance_Humanism?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5132" href="https://www.academia.edu/Documents/in/Reformation_History">Reformation History</a>, <script data-card-contents-for-ri="5132" type="text/json">{"id":5132,"name":"Reformation History","url":"https://www.academia.edu/Documents/in/Reformation_History?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5133" href="https://www.academia.edu/Documents/in/Reformation_Studies">Reformation Studies</a><script 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(Music)","url":"https://www.academia.edu/Documents/in/Renaissance_Music_Music_?f_ri=614341"},{"id":48518,"name":"Marsilio Ficino","url":"https://www.academia.edu/Documents/in/Marsilio_Ficino?f_ri=614341"},{"id":225970,"name":"Prudentius","url":"https://www.academia.edu/Documents/in/Prudentius?f_ri=614341"},{"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=614341"},{"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=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":719788,"name":"Ludwig Senfl","url":"https://www.academia.edu/Documents/in/Ludwig_Senfl?f_ri=614341"},{"id":966731,"name":"Renaissance and Baroque Music","url":"https://www.academia.edu/Documents/in/Renaissance_and_Baroque_Music?f_ri=614341"},{"id":1243990,"name":"Nicodemism","url":"https://www.academia.edu/Documents/in/Nicodemism?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_66118934" data-work_id="66118934" 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/66118934/La_musica_nel_curriculum_delle_artes_delle_universit%C3%A0_italiane_nel_Quattrocento_fra_teoria_e_prassi">La musica nel curriculum delle artes delle università italiane nel Quattrocento: fra teoria e prassi</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il saggio, dopo una introduzione al curriculum delle facoltà di arti e medicina delle Università italiane del Quattrocento, si focalizza sulle disposizioni (principalmente indicazioni statutarie) relative all’insegnamento della musica.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_66118934" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il saggio, dopo una introduzione al curriculum delle facoltà di arti e medicina delle Università italiane del Quattrocento, si focalizza sulle disposizioni (principalmente indicazioni statutarie) relative all’insegnamento della musica. Presentato il quadro "teorico", attraverso l’esame degli strumenti di laurea, dei rotoli degli insegnamenti e di altre fonti, si è voluto verificare se, nella prassi, siano stati attivati insegnamenti universitari di ars musica. Emerge uno scollamento tra alcune disposizioni statutarie che fanno riferimento a questa disciplina e la realtà, che attesta una generale assenza di docenti e studenti di musica, sebbene in alcuni contesti accademici siano documentati interessi verso la didattica musicale, la quale probabilmente, come avvenne per altre discipline, continuò ad essere praticata in contesti di istruzione di alto livello non incorporati nello Studio.</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/66118934" 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="67d72653baab0945707c286f0d1067b2" rel="nofollow" data-download="{"attachment_id":95205281,"asset_id":66118934,"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/95205281/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="1249406" href="https://unito.academia.edu/paolorosso">paolo rosso</a><script data-card-contents-for-user="1249406" type="text/json">{"id":1249406,"first_name":"paolo","last_name":"rosso","domain_name":"unito","page_name":"paolorosso","display_name":"paolo rosso","profile_url":"https://unito.academia.edu/paolorosso?f_ri=614341","photo":"https://0.academia-photos.com/1249406/1014215/31770948/s65_paolo.rosso.jpg"}</script></span></span></li><li class="js-paper-rank-work_66118934 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="66118934"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 66118934, container: ".js-paper-rank-work_66118934", }); 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$(".js-view-count[data-work-id=66118934]").text(description); $(".js-view-count-work_66118934").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_66118934").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="66118934"><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="10823" href="https://www.academia.edu/Documents/in/History_of_Universities">History of Universities</a>, <script data-card-contents-for-ri="10823" type="text/json">{"id":10823,"name":"History of Universities","url":"https://www.academia.edu/Documents/in/History_of_Universities?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16420" href="https://www.academia.edu/Documents/in/Medieval_Music">Medieval Music</a>, <script data-card-contents-for-ri="16420" type="text/json">{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19642" href="https://www.academia.edu/Documents/in/Medieval_Music_Theory">Medieval Music Theory</a>, <script data-card-contents-for-ri="19642" type="text/json">{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="208599" href="https://www.academia.edu/Documents/in/Music_Pedagogy">Music Pedagogy</a><script data-card-contents-for-ri="208599" type="text/json">{"id":208599,"name":"Music Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Pedagogy?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=66118934]'), work: {"id":66118934,"title":"La musica nel curriculum delle artes delle università italiane nel Quattrocento: fra teoria e prassi","created_at":"2021-12-27T08:29:22.863-08:00","url":"https://www.academia.edu/66118934/La_musica_nel_curriculum_delle_artes_delle_universit%C3%A0_italiane_nel_Quattrocento_fra_teoria_e_prassi?f_ri=614341","dom_id":"work_66118934","summary":"Il saggio, dopo una introduzione al curriculum delle facoltà di arti e medicina delle Università italiane del Quattrocento, si focalizza sulle disposizioni (principalmente indicazioni statutarie) relative all’insegnamento della musica. Presentato il quadro \"teorico\", attraverso l’esame degli strumenti di laurea, dei rotoli degli insegnamenti e di altre fonti, si è voluto verificare se, nella prassi, siano stati attivati insegnamenti universitari di ars musica. Emerge uno scollamento tra alcune disposizioni statutarie che fanno riferimento a questa disciplina e la realtà, che attesta una generale assenza di docenti e studenti di musica, sebbene in alcuni contesti accademici siano documentati interessi verso la didattica musicale, la quale probabilmente, come avvenne per altre discipline, continuò ad essere praticata in contesti di istruzione di alto livello non incorporati nello Studio.","downloadable_attachments":[{"id":95205281,"asset_id":66118934,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1249406,"first_name":"paolo","last_name":"rosso","domain_name":"unito","page_name":"paolorosso","display_name":"paolo rosso","profile_url":"https://unito.academia.edu/paolorosso?f_ri=614341","photo":"https://0.academia-photos.com/1249406/1014215/31770948/s65_paolo.rosso.jpg"}],"research_interests":[{"id":10823,"name":"History of Universities","url":"https://www.academia.edu/Documents/in/History_of_Universities?f_ri=614341","nofollow":false},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341","nofollow":false},{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=614341","nofollow":false},{"id":208599,"name":"Music Pedagogy","url":"https://www.academia.edu/Documents/in/Music_Pedagogy?f_ri=614341","nofollow":false},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35039921" data-work_id="35039921" 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/35039921/Franchino_Gaffurio_Practica_musice_Testo_latino_e_italiano">Franchino Gaffurio. «Practica musice». Testo latino e italiano</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Introduzione, traduzione e commento di Paolo Vittorelli. Franchino Gaffurio (Lodi, 1451 - Milano, 1522), dopo la «Theorica musice» (presente in questa stessa collana), pubblicò, nel 1496, la «Practica musice», con l’intento di esporre... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35039921" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Introduzione, traduzione e commento di Paolo Vittorelli. <br />Franchino Gaffurio (Lodi, 1451 - Milano, 1522), dopo la «Theorica musice» (presente in questa stessa collana), pubblicò, nel 1496, la «Practica musice», con l’intento di esporre quella parte della teoria musicale che esulava dalla pura speculazione intellettuale. In questo trattato sono infatti contenute ampie descrizioni della pratica del canto piano e del canto figurato, corredate da una dettagliatissima esposizione dei princìpi della notazione mensurale di fine Quattrocento, da una trattazione critica e coerente dei fondamenti del contrappunto (l’autore era anche compositore), ricca di consigli di prassi esecutiva non soliti a scriversi da parte dei teorici coevi, e dalla più logica e completa dissertazione dei rapporti ritmici (nel lessico dell’epoca detti “proporzioni”) mai scritta da qualsiasi musicografo, il tutto illustrato da numerosissimi esempi, spesso composti «ad hoc». Nel testo tornano, per la prima volta nella storia musicale europea, alcune citazioni di autori greci classici o bizantini diversi dagli usuali Boezio e Marziano Capella (alcuni fatti tradurre in latino per la prima volta proprio da Gaffurio stesso), con lo scopo di consentire l’uso della categoria di Umanesimo anche nel campo della musica. L’opera conobbe all’epoca un successo insuperato da parte di qualsiasi altro trattato di argomento musicale (ben cinque edizioni in una quindicina d’anni) e rimase uno dei testi di riferimento per le “regole della musica” sino a un periodo molto posteriore rispetto alla sua data di pubblicazione: ancora Leopold Mozart citerà il nome del lodigiano.</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/35039921" 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="2b79c4f807d0cd78de10b0d86a941a89" rel="nofollow" data-download="{"attachment_id":54901821,"asset_id":35039921,"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/54901821/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="9008486" href="https://independent.academia.edu/SISMELEdizionidelGalluzzo">SISMEL Edizioni del Galluzzo</a><script data-card-contents-for-user="9008486" type="text/json">{"id":9008486,"first_name":"SISMEL","last_name":"Edizioni del Galluzzo","domain_name":"independent","page_name":"SISMELEdizionidelGalluzzo","display_name":"SISMEL Edizioni del Galluzzo","profile_url":"https://independent.academia.edu/SISMELEdizionidelGalluzzo?f_ri=614341","photo":"https://0.academia-photos.com/9008486/2984125/7735111/s65_sismel.edizioni_del_galluzzo.jpg"}</script></span></span></li><li class="js-paper-rank-work_35039921 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35039921"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35039921, container: ".js-paper-rank-work_35039921", }); 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L’opera conobbe all’epoca un successo insuperato da parte di qualsiasi altro trattato di argomento musicale (ben cinque edizioni in una quindicina d’anni) e rimase uno dei testi di riferimento per le “regole della musica” sino a un periodo molto posteriore rispetto alla sua data di pubblicazione: ancora Leopold Mozart citerà il nome del lodigiano.","downloadable_attachments":[{"id":54901821,"asset_id":35039921,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9008486,"first_name":"SISMEL","last_name":"Edizioni del Galluzzo","domain_name":"independent","page_name":"SISMELEdizionidelGalluzzo","display_name":"SISMEL Edizioni del 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Juan del Encina entre Castilla e Italia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En las poesías del Cancionero Musical de Palacio con melodías atribuidas a Juan del Encina, aparecen algunas que, por sus recursos expresivos, recuerdan inequívocamente la poesía musical italiana de su tiempo, especialmente las frottole y... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11228950" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En las poesías del Cancionero Musical de Palacio con melodías atribuidas a Juan del Encina, aparecen algunas que, por sus recursos expresivos, recuerdan inequívocamente la poesía musical italiana de su tiempo, especialmente las frottole y los canti carnascialeschi; por otra parte, los cancioneros musicales italianos manuscritos e impresos, además de recoger algunas composiciones de Juan del Encina, contienen otras cuya transmisión puede haber sido facilitada por él mismo.  A la luz de estos datos, hacia 1500 parece haberse erigido en mediador entre la música italiana y la española</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/11228950" 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="ca2d5c717914696cde51b4436bb10a6c" rel="nofollow" data-download="{"attachment_id":36935218,"asset_id":11228950,"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/36935218/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="12164508" href="https://lincei.academia.edu/Vicen%C3%A7Beltran">Vicenç Beltran</a><script data-card-contents-for-user="12164508" type="text/json">{"id":12164508,"first_name":"Vicenç","last_name":"Beltran","domain_name":"lincei","page_name":"VicençBeltran","display_name":"Vicenç Beltran","profile_url":"https://lincei.academia.edu/Vicen%C3%A7Beltran?f_ri=614341","photo":"https://0.academia-photos.com/12164508/6370947/7208686/s65_vicen_.beltran.jpg"}</script></span></span></li><li class="js-paper-rank-work_11228950 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11228950"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11228950, container: ".js-paper-rank-work_11228950", }); 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$('*[data-has-card-for-ri-list=7152505]'), work: {"id":7152505,"title":"Hildegard von Bingen, the Late, Great, One and Only? : Making the Case against Modern Hildegard Scholarship: Questioning Originality in Hildegard von Bingen and Her Musical Output","created_at":"2014-05-25T06:07:06.950-07:00","url":"https://www.academia.edu/7152505/Hildegard_von_Bingen_the_Late_Great_One_and_Only_Making_the_Case_against_Modern_Hildegard_Scholarship_Questioning_Originality_in_Hildegard_von_Bingen_and_Her_Musical_Output?f_ri=614341","dom_id":"work_7152505","summary":null,"downloadable_attachments":[{"id":48599558,"asset_id":7152505,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6283566,"first_name":"Jordan Alexander","last_name":"Key","domain_name":"florida","page_name":"JordanAlexanderKey","display_name":"Jordan Alexander 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Medieval","url":"https://www.academia.edu/Documents/in/Late_Medieval?f_ri=614341"},{"id":7617,"name":"Medieval Church History","url":"https://www.academia.edu/Documents/in/Medieval_Church_History?f_ri=614341"},{"id":8325,"name":"History of Musical Composition","url":"https://www.academia.edu/Documents/in/History_of_Musical_Composition?f_ri=614341"},{"id":10073,"name":"Sociology of Music","url":"https://www.academia.edu/Documents/in/Sociology_of_Music?f_ri=614341"},{"id":10312,"name":"Empirical Musicology","url":"https://www.academia.edu/Documents/in/Empirical_Musicology?f_ri=614341"},{"id":16420,"name":"Medieval Music","url":"https://www.academia.edu/Documents/in/Medieval_Music?f_ri=614341"},{"id":19642,"name":"Medieval Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_Music_Theory?f_ri=614341"},{"id":23604,"name":"Hildegard von Bingen","url":"https://www.academia.edu/Documents/in/Hildegard_von_Bingen?f_ri=614341"},{"id":24365,"name":"History of 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Musicians","url":"https://www.academia.edu/Documents/in/Social_History_of_Music_and_Musicians?f_ri=614341"},{"id":170697,"name":"Musical Analysis","url":"https://www.academia.edu/Documents/in/Musical_Analysis?f_ri=614341"},{"id":254725,"name":"Musicology/Cultural Studies","url":"https://www.academia.edu/Documents/in/Musicology_Cultural_Studies?f_ri=614341"},{"id":265870,"name":"Musicology, Medieval Studies, Digital Humanities","url":"https://www.academia.edu/Documents/in/Musicology_Medieval_Studies_Digital_Humanities?f_ri=614341"},{"id":306050,"name":"Medieval musicology","url":"https://www.academia.edu/Documents/in/Medieval_musicology?f_ri=614341"},{"id":374317,"name":"Early Music Performance","url":"https://www.academia.edu/Documents/in/Early_Music_Performance?f_ri=614341"},{"id":455647,"name":"Early music and historically informed performance 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Bingen","url":"https://www.academia.edu/Documents/in/Santa_Hildegarda_Von_Bingen?f_ri=614341"},{"id":1364135,"name":"Medieval and Renaissance Music Theory","url":"https://www.academia.edu/Documents/in/Medieval_and_Renaissance_Music_Theory?f_ri=614341"},{"id":1400813,"name":"History of Hildegard of Bingen","url":"https://www.academia.edu/Documents/in/History_of_Hildegard_of_Bingen?f_ri=614341"},{"id":1563332,"name":"Medieval Music Notation Compositional Style","url":"https://www.academia.edu/Documents/in/Medieval_Music_Notation_Compositional_Style?f_ri=614341"},{"id":2185117,"name":"Hildegard van Bingen","url":"https://www.academia.edu/Documents/in/Hildegard_van_Bingen?f_ri=614341"},{"id":2524415,"name":"Jordan Key","url":"https://www.academia.edu/Documents/in/Jordan_Key?f_ri=614341"},{"id":2524416,"name":"Jordan Alexander Key","url":"https://www.academia.edu/Documents/in/Jordan_Alexander_Key?f_ri=614341"},{"id":2524417,"name":"Key, 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Key","url":"https://www.academia.edu/Documents/in/Jordan_A._Key?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35461894" data-work_id="35461894" 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/35461894/The_Lviv_Fragments_and_Missa_L_homme_arm%C3%A9_sexti_toni_Questions_on_Early_Josquin_Reception_in_Central_Europe">The Lviv Fragments and Missa L’homme armé sexti toni: Questions on Early Josquin Reception in Central Europe</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/35461894" 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="8ed89ae3ee2cd4a2ad4ed1df01a0788f" rel="nofollow" data-download="{"attachment_id":55324182,"asset_id":35461894,"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/55324182/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="2608251" href="https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk">Paweł Gancarczyk</a><script data-card-contents-for-user="2608251" type="text/json">{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}</script></span></span></li><li class="js-paper-rank-work_35461894 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35461894"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35461894, container: ".js-paper-rank-work_35461894", }); 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$(".js-view-count[data-work-id=35461894]").text(description); $(".js-view-count-work_35461894").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35461894").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="35461894"><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="11181" href="https://www.academia.edu/Documents/in/Matthias_Corvinus">Matthias Corvinus</a>, <script data-card-contents-for-ri="11181" type="text/json">{"id":11181,"name":"Matthias Corvinus","url":"https://www.academia.edu/Documents/in/Matthias_Corvinus?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14869" href="https://www.academia.edu/Documents/in/Josquin_des_Prez">Josquin des Prez</a>, <script data-card-contents-for-ri="14869" type="text/json">{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="17547" 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=614341","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="570924" href="https://www.academia.edu/Documents/in/Music_Manuscripts">Music Manuscripts</a><script data-card-contents-for-ri="570924" type="text/json">{"id":570924,"name":"Music Manuscripts","url":"https://www.academia.edu/Documents/in/Music_Manuscripts?f_ri=614341","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35461894]'), work: {"id":35461894,"title":"The Lviv Fragments and Missa L’homme armé sexti toni: Questions on Early Josquin Reception in Central Europe","created_at":"2017-12-18T13:35:05.534-08:00","url":"https://www.academia.edu/35461894/The_Lviv_Fragments_and_Missa_L_homme_arm%C3%A9_sexti_toni_Questions_on_Early_Josquin_Reception_in_Central_Europe?f_ri=614341","dom_id":"work_35461894","summary":null,"downloadable_attachments":[{"id":55324182,"asset_id":35461894,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2608251,"first_name":"Paweł","last_name":"Gancarczyk","domain_name":"pan-pl","page_name":"PawełGancarczyk","display_name":"Paweł Gancarczyk","profile_url":"https://pan-pl.academia.edu/Pawe%C5%82Gancarczyk?f_ri=614341","photo":"https://0.academia-photos.com/2608251/823718/128235802/s65_pawe_.gancarczyk.jpg"}],"research_interests":[{"id":11181,"name":"Matthias Corvinus","url":"https://www.academia.edu/Documents/in/Matthias_Corvinus?f_ri=614341","nofollow":false},{"id":14869,"name":"Josquin des Prez","url":"https://www.academia.edu/Documents/in/Josquin_des_Prez?f_ri=614341","nofollow":false},{"id":17547,"name":"Renaissance music","url":"https://www.academia.edu/Documents/in/Renaissance_music?f_ri=614341","nofollow":false},{"id":570924,"name":"Music Manuscripts","url":"https://www.academia.edu/Documents/in/Music_Manuscripts?f_ri=614341","nofollow":false},{"id":614341,"name":"Late medieval and Renaissance music","url":"https://www.academia.edu/Documents/in/Late_medieval_and_Renaissance_music?f_ri=614341"},{"id":1109640,"name":"L'Homme Arme Tradition","url":"https://www.academia.edu/Documents/in/LHomme_Arme_Tradition?f_ri=614341"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35460293" data-work_id="35460293" 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/35460293/The_Elevation_as_Liturgical_Climax_in_Gesture_and_Sound_Milanese_Elevation_Motets_in_Context_in_Journal_of_the_Alamire_Foundation_9_1_2017_33_58">The Elevation as Liturgical Climax in Gesture and Sound: Milanese Elevation Motets in Context, in Journal of the Alamire Foundation 9/1 (2017), 33-58</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Elevation motets have been considered as a peculiar feature of the Milanese motetti missales. Yet an exploration on the elevation prayers and their circulation makes it possible to contextualize the Milanese transmission of elevation... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35460293" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Elevation motets have been considered as a peculiar feature of the Milanese motetti missales. Yet an exploration on the elevation prayers and their circulation makes it possible to contextualize the Milanese transmission of elevation motets in a wider liturgical and musical practice. After discussing the liturgical significance and function of the elevation, with its rich gestural symbolism, this study focuses on the peculiarities of the Milanese elevation motets in comparison with other examples of elevation pieces. The ‘loco sanctus’ motets of the Milanese Libroni were intended to surround the elevation ritual with music, and also include a part to be sung before the elevation took place. In this regard the Milanese elevation motets show a more direct connection with the mass ritual then other motets ‘de corpore Christi’. Mapping the elevation motet texts reveals significant connections in particular between O salutaris hostia and the liturgical usages of the regions in northern France and Flanders from which Galeazzo Maria Sforza recruited his singers. Although our knowledge of the use of motets and of related practices in that region is incomplete, this nevertheless suggests narrower ties than have typically been supposed between the Milanese elevation sections and Franco-Flemish singing traditions related to the elevation at Mass.</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/35460293" 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="d22002c732eaf44abc9f8098af4ca339" rel="nofollow" data-download="{"attachment_id":56056845,"asset_id":35460293,"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/56056845/download_file?st=MTczMjcxMjYxNiw4LjIyMi4yMDguMTQ2&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="2730560" href="https://fhnw.academia.edu/AgnesePavanello">Agnese Pavanello</a><script data-card-contents-for-user="2730560" type="text/json">{"id":2730560,"first_name":"Agnese","last_name":"Pavanello","domain_name":"fhnw","page_name":"AgnesePavanello","display_name":"Agnese Pavanello","profile_url":"https://fhnw.academia.edu/AgnesePavanello?f_ri=614341","photo":"https://0.academia-photos.com/2730560/881670/19690808/s65_agnese.pavanello.jpg"}</script></span></span></li><li class="js-paper-rank-work_35460293 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35460293"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35460293, container: ".js-paper-rank-work_35460293", }); 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Yet an exploration on the elevation prayers and their circulation makes it possible to contextualize the Milanese transmission of elevation motets in a wider liturgical and musical practice. After discussing the liturgical significance and function of the elevation, with its rich gestural symbolism, this study focuses on the peculiarities of the Milanese elevation motets in comparison with other examples of elevation pieces. The ‘loco sanctus’ motets of the Milanese Libroni were intended to surround the elevation ritual with music, and also include a part to be sung before the elevation took place. In this regard the Milanese elevation motets show a more direct connection with the mass ritual then other motets ‘de corpore Christi’. Mapping the elevation motet texts reveals significant connections in particular between O salutaris hostia and the liturgical usages of the regions in northern France and Flanders from which Galeazzo Maria Sforza recruited his singers. 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