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Relevant bibliographies by topics / Mensural music

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Academic literature on the topic 'Mensural music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Mensural music"

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DEFORD, RUTH I. "On Diminution and Proportion in Fifteenth-Century Music Theory." Journal of the American Musicological Society 58, no. 1 (2005): 1–67. http://dx.doi.org/10.1525/jams.2005.58.1.1.

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Abstract The interpretation of fifteenth-century diminution signs is problematic. Theorists describe three types of diminution, all of which may be represented by the same signs: proportional diminution, which reduces the durations of notes in relation to other notes in the same piece; mensural diminution, which reduces the number of mensurae, or counting units, with which each note is measured; and acceleratio mensurae, which reduces the duration of the mensura itself. The writings that describe these procedures are often ambiguous and have been interpreted in conflicting ways. Clarifying the distinctions among the categories of diminution helps to make sense of problematic theoretical statements and resolve apparent conflicts between theory and practice. Since most theorists apply the concept of proportional diminution only to simultaneous relationships and acceleratio mensurae probably arose no earlier than the 1460s, mensural diminution is the principal theoretical meaning of diminution signs in the first half of the fifteenth century. Placing the reformist ideas of Tinctoris and Gaffurio in the context of earlier theories leads to new interpretations of their views on diminution. Their struggles to resolve the conflicts between traditional practices and their own rigorously rational systems led to inconsistencies that laid the foundation for the controversies that have plagued interpretations of diminution signs ever since.

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Boone, Graeme M. "Marking Mensural Time." Music Theory Spectrum 22, no. 1 (April 2000): 1–43. http://dx.doi.org/10.2307/745851.

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Boone, Graeme M. "Marking Mensural Time." Music Theory Spectrum 22, no. 1 (April 2000): 1–43. http://dx.doi.org/10.1525/mts.2000.22.1.02a00010.

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Rizo Valero, David, Nieves Pascual León, and Craig Stuart Sapp. "White Mensural Manual Encoding: from Humdrum to MEI." Cuadernos de Investigación Musical, no. 6 (January 16, 2019): 373. http://dx.doi.org/10.18239/invesmusic.v0i6.1953.

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<p><span lang="EN-US">The recovery of musical heritage currently necessarily involves its digitalization, not only by scanning images, but also by the encoding in computer-readable formats of the musical content described in the original manuscripts. In general, this encoding can be done using automated tools based with what is named Optical Music Recognition (OMR), or manually writing directly the corresponding computer code. The OMR technology is not mature enough yet to extract the musical content of sheet music images with enough quality, and even less from handwritten sources, so in many cases it is more efficient to encode the works manually. However, being currently MEI (Music Encoding Initiative) the most appropriate format to store the encoding, it is a totally tedious code to be manually written. Therefore, we propose a new format named **mens allowing a quick manual encoding, from which both the MEI format itself and other common representations such as Lilypond or the transcription in MusicXML can be generated. By using this approach, the antiphony Salve Regina for eight-voice choir written by Jerónimo de la Torre (1607–1673) has been successfully encoded and transcribed.</span></p>

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Tardón, Lorenzo J., Simone Sammartino, Isabel Barbancho, Verónica Gómez, and Antonio Oliver. "Optical Music Recognition for Scores Written in White Mensural Notation." EURASIP Journal on Image and Video Processing 2009 (2009): 1–23. http://dx.doi.org/10.1155/2009/843401.

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Calvo-Zaragoza, Jorge, Alejandro H. Toselli, and Enrique Vidal. "Handwritten Music Recognition for Mensural notation with convolutional recurrent neural networks." Pattern Recognition Letters 128 (December 2019): 115–21. http://dx.doi.org/10.1016/j.patrec.2019.08.021.

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Curran, Sean. "HOCKETS BROKEN AND INTEGRATED IN EARLY MENSURAL THEORY AND AN EARLY MOTET." Early Music History 36 (September 12, 2017): 31–104. http://dx.doi.org/10.1017/s0261127917000055.

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Though recent discoveries have improved our understanding of big, melismatic hockets from the late thirteenth century, there remains a pervasive uncertainty as to how hockets should be defined and identified on the small scale at which they characteristically manifest in thirteenth-century motets. In revisiting the mensural theorists up to Franco of Cologne, it was found that only Franco defines hockets as multi-voice phenomena: earlier texts define the hocket at the level of a single perfection, and as it reveals itself in the breaking of a single performing voice. Under a revised definition, 138 motet texts that use hockets have been identified in theArs antiquarepertory. It was also found that another way of hearing the hocket, compatible with the first, is implied by Lambertus and pursued at length by the St. Emmeram Anonymous. These writers acknowledge but depart from the consensus that the hocket is sonically fragmented, also hearing it as a promise of the coordination achievable when musical time is measured. For St. Emmeram especially, the hocket has a dual character: its sonic fragmentation is contrived through integrated planning. To hear hockets integratively is difficult, and requires an effort of will that for this theorist has moral stakes.The final sections of the article analyse the musicopoetic games of the motetDame de valour(71)/Dame vostre douz regart(72)/Manere(M5). Similarly to the St. Emmeram theorist, the piece self-consciously highlights the difficulty and worth of close listening (a theme inspired by its tenor’s scriptural source), and does so with a hocket that marks a complementarity of breaking and integration, of a formal sort, several decades before Lambertus and St. Emmeram would reflect on the hocket’s dual character theoretically. The motet poses artfully some of the same questions about the audibility of form that preoccupy modern scholarship. These voices from the thirteenth century might remind us that ethical debates about correct listening are much older than current disciplinary concerns. But recognising the longevity of the debates does not force us to agree with old positions.

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CATALUNYA, DAVID, and CARMEN JULIA GUTIÉRREZ. "Mozarabic preces in Ars Nova notation: a new fourteenth-century fragment discovered in Spain." Plainsong and Medieval Music 22, no. 2 (September 12, 2013): 153–67. http://dx.doi.org/10.1017/s096113711300003x.

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ABSTRACTThis article reports the discovery of an early fourteenth-century manuscript fragment (two small snippets from the same folio) of Castilian origin. One side of the original folio contained a monophonic piece in Ars Nova notation whose text has been identified as Mozarabic preces, a musical repertoire that was suposed to lack written transmission from the twelfth to the early sixteenth centuries. The fragment thus throws new light on the survival of the Mozarabic rite through the late Middle Ages. The backside of the folio contains music written in an old mensural system based on undifferentiated semibreves and puncta divisionis. In this regard, the manuscript may represent the earliest known Spanish source to employ the Petronian system described in the mensural treatise in Barcelona Cathedral (misc. 23). The study includes a detailed codicological examination of the manuscript (including the digital restoration of a palimpsest), transcriptions and musical analysis.

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Peraino, Judith A. "Re-Placing Medieval Music." Journal of the American Musicological Society 54, no. 2 (2001): 209–64. http://dx.doi.org/10.1525/jams.2001.54.2.209.

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Abstract This essay explores reasons and methods for combining historical research in medieval music and postmodern critical theories associated with “new musicology.” I discuss recent historiographie writings by medievalists and theories of intertextuality from literary critics who argue for the conscious integration of present-day frames of reference into interpretations of historical material. Three postmodern themes form my frame of reference: (1) the critique of metanarratives, (2) the constitutive relationships between central and marginal “texts,” and (3) the recognition of plural perspectives and meanings. I show how these themes instigate compelling readings of two treatises—Johannes de Grocheio's De musica (ca. 1300) and Dante's De vulgari ekquentia (ca. 1305)—and some contemporaneous monophonie mensural additions to the chansonnier F-Pn fr. 844 (trouvère MS M, also known as the Manuscrit du roi).

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Benham, Hugh. "‘Stroke’ and ‘strene’ notation in fifteenth- and sixteenth-century equal-note cantus firmi." Plainsong and Medieval Music 2, no. 2 (October 1993): 153–68. http://dx.doi.org/10.1017/s0961137100000504.

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Several writers, notably Dr Margaret Bent, have drawn attention to simple forms of notation that were occasionally used in fifteenth- and sixteenth-century English music in preference to ‘normal’ mensural notation. This study investigates the employment of these notations in plainsong-based cantus firmi that have, exclusively or predominantly, notes of a single value, and comments on the relationships between such notations and the more widely used notational systems of plainchant and polyphonic music.

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Dissertations / Theses on the topic "Mensural music"

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Farina, Andrew J. "Temporal Organization in the Masses of Johannes Ockeghem." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406027046.

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Hamilton, Elizabeth P. K. "A Study of Early Sixteenth-Century English Music Fragments from the DIAMM Database." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20241.

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While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued. This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.

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Wieczorek, Ryszard. "Musica figurata in Saxony and Silesia at the end of the 15th century: studies on the repertoire of the Mensural Codices Berlin 40021, Leipzig 1494, and Warsaw 5892." 2004. https://ul.qucosa.de/id/qucosa%3A15798.

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The subject of the present study is the repertoire of three closely related manuscript books with polyphonic music in mensural notation – musica figurata – from the end of the 15th century, now stored in the libraries of Berlin (Berlin 40021), Leipzig (Leipzig 1494 – the so-called ”Apel Codex“), and Warsaw (Warsaw 5892, olim Breslau 2016). Even though they were all discovered either in the last decades of the 19th century, or in the opening ones of the 20th, thus far they have not been thoroughly analyzed in terms of their repertoire.

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Books on the topic "Mensural music"

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Ristory, Heinz. Post-franconische Theorie und Früh-Trecento: Die Petrus de Cruce-Neuerungen und ihre Bedeutung für die italienisches Mensuralnotenschriften zu Beginn der 14. Jahrhunderts. Frankfurt am Main: Lang, 1987.

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Ristory, Heinz. Post-franconische Theorie und Früh-Trecento: Die Petrus de Cruce-Neuerungen und ihre Bedeutung für die italienische Mensuralnotenschrift zu Beginn des 14. Jahrhunderts. Frankfurt am Main: P. Lang, 1988.

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Musica scripto: Kodeksy menzuralne II połowy XV wieku na wschodzie Europy Łacińskiej. Warszawa: Instytut Sztuki Polskiej Akademii Nauk, 2001.

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Christian, Meyer. Mensura monochordi: La division du monocorde, IXe-XVe siècles. Paris: Société française de musicologie, 1996.

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Denkmodelle zur französischen Mensuraltheorie des 14. Jahrhunderts. Ottawa, Canada: Institute of Mediaeval Music, 2004.

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6

Antonio. Ars cantus figurati. [S.l.]: American Institute of Musicology, 1997.

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Colonia, Franco de. Ars cantus mensurabilis: XIIIème siècle. Paris: Editions du Cerf, 1997.

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Balloce, Johannes Dictus. Abreviatio Magistri Franconis. [S.l.]: American Institute of Musicology, 1987.

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9

Berger, Anna Maria Busse. Mensuration and proportion signs: Origins and evolution. Oxford [England]: Clarendon Press, 1993.

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1965-, Della Sciucca Marco, Sucato Tiziana, Vivarelli Carla, and Marchetto, da Padova, fl. 1305-1326., eds. Lucidarium ; Pomerium: Testo latino e italiano. Firenze: Edizioni del Galluzzo per la Fondazione Ezio Franceschini, 2007.

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Book chapters on the topic "Mensural music"

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Strohm, Reinhard. "Non-Mensural Polyphony:." In Music and Instruments of the Middle Ages, 373–84. Boydell & Brewer, 2020. http://dx.doi.org/10.2307/j.ctv1850hzd.25.

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"Note blackening and mensural notation." In Consort Suites and Dance Music by Town Musicians in German-Speaking Europe, 1648–1700, 195–210. Routledge, 2016. http://dx.doi.org/10.4324/9781315573519-9.

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Hasty, Christopher. "Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music." In Meter as Rhythm, 296–346. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886912.003.0014.

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This chapter assesses meter in early-seventeenth-century and twentieth-century music. Specifically, it analyzes compositions by Monteverdi, Schütz, Webern, and Babbitt. Monteverdi's “Ohimè, se tanto amate” from the fourth book of madrigals presents a metrical subtlety rarely encountered in eighteenth- and nineteenth-century music. Here the projective field is very mobile, and mensural determinacy is restricted to relatively small measures. Meanwhile, Schütz's concertato motet “Adjoro vos, filiae Jerusalem” from the Symphoniae sacrae, Book I (1629), demonstrates extremely subtle rhythmic detail and great projective contrast used in the service of a compelling larger gesture. Here the repetition of small melodic figures is used for the creation of complex projective fields that serve the continuity of phrases and sections. The chapter then looks at the much smaller measures and much greater ambiguity in some music of the twentieth century.

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Lindmayr-Brandl, Andrea. "The pioneers of mensural music printing in German-speaking lands: networks and type repertoria." In Early Printed Music and Material Culture in Central and Western Europe, 19–40. Routledge, 2021. http://dx.doi.org/10.4324/9780429342844-3.

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Conference papers on the topic "Mensural music"

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Calvo-Zaragoza, Jorge, Alejandro H. Toselli, and Enrique Vidal. "Handwritten Music Recognition for Mensural Notation: Formulation, Data and Baseline Results." In 2017 14th IAPR International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2017. http://dx.doi.org/10.1109/icdar.2017.179.

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Villarreal, Manuel, and Joan Andreu Sanchez. "Handwritten Music Recognition Improvement through Language Model Re-interpretation for Mensural Notation." In 2020 17th International Conference on Frontiers in Handwriting Recognition (ICFHR). IEEE, 2020. http://dx.doi.org/10.1109/icfhr2020.2020.00045.

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