Bibliografías temáticas / Philippe {de Motette

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Literatura académica sobre el tema "Philippe {de Motette"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 8 de febrero de 2022

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Artículos de revistas sobre el tema "Philippe {de Motette"

1

Wathey, Andrew. "The Marriage of Edward III and the Transmission of French Motets to England". Journal of the American Musicological Society 45, n.º 1 (1992): 1–29. http://dx.doi.org/10.2307/831488.

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This article describes the hitherto unsuspected transmission to England of the two motets in Paris, Bibliothèque Nationale, MS français 571 (also found in Chaillou de Pesstain's interpolated version of the Roman de Fauvel (MS français 146)) as a direct product of the period spent in France by Isabella, Queen of England, 1325-1326, and of the negotiations for the marriage of her son, the future Edward III of England. Isabella's expedition, both before and after the open break with her husband, Edward II, afforded numerous opportunities for the proximity of English and French musicians; new documentation presented here permits the charting in detail of English clerics' contacts with Gervais du Bus, one of the authors of the Roman de Fauvel, and with Philippe de Vitry. A new dating is advanced for MS français 571, compiled for the marriage of Prince Edward and Philippa of Hainault. Edward's proximity to the French royal line (and the residual English claim to the French throne) provided a rationale not only for the English diplomatic handling of the marriage, but also for the inclusion of the motet texts in MS français 571. The motets' topical texts, originally cast with other purposes in mind, are here subordinated to the broader political program of the Anglo-Hainault marriage. Thus, far from being monofunctional, fourteenth-century motets could be re-used in new contexts that made quite different uses of the messages promulgated in their texts: the adaptability of individual motets may, indeed, have been a fundamental cause in their transmission and even in their later survival.
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2

Ryan, Mary Ellen. "“Our Enemies Are Gathered Together”". Journal of Musicology 36, n.º 3 (2019): 295–330. http://dx.doi.org/10.1525/jm.2019.36.3.295.

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The return of the Florentine republic (1527–30) ushered in a tense period of political upheaval. As the city faced an imperial siege and bouts of famine and plague, the government promoted a vibrant spiritual program to combat dangers to its independence. The motet flourished within this environment, but the connections between this repertory and civic life in early sixteenth-century Florence have yet to be fully explored. Since the mid-twentieth century, music historians have examined Florentine manuscript sources of the motet (the Newberry Partbooks and Vallicelliana Partbooks) and have articulated various arguments for the political significance of these collections and the individual pieces they contain. Viewed as a whole, however, the repertory does not typically express partisan support for the Medici or the republic. One underlying thread tying many of these motets together is their function within ritual celebrations, particularly in uniting the community in prayer for collective relief. Philippe Verdelot’s wartime Congregati sunt inimici nostri exemplifies the multiple performance uses of motets in Florentine ritual contexts. Its compositional design and content reveal how Florentines turned to the motet to demonstrate communal solidarity and to seek divine aid in times of crisis.
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3

Von Steuber, Otfried. "Philipp Dulichius - Kantor an St. Marien und am Fürstlichen Pädagogium in Stettin von 1587-1630". Schütz-Jahrbuch 27 (21 de julio de 2017): 25–35. http://dx.doi.org/10.13141/sjb.v2005611.

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Leben und Werk Philipp Dulichius' sind nur unzureichend erforscht, doch sind seit den Denkmälerausgaben des 19. Jahrhunderts mehrere seiner Motetten für die Forschung greifbar. Geboren 1562 in Chemnitz, trat er 1587 das Amt als Kantor des Fürstlichen Pädagogiums in Stettin an. Bei seinen in 14 Drucken überlieferten Werken handelt es sich um 232 Motetten zu fünf, sechs, sieben und acht Stimmen. Dulichius starb 1630. (Oliver Schöner) Quelle: Bibliographie des Musikschrifttums online
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4

Zayaruznaya, Anna. "Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music". Journal of Musicology 30, n.º 4 (2013): 461–501. http://dx.doi.org/10.1525/jm.2013.30.4.461.

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The whimsical upper-voice texts of the anonymous fourteenth-century motet Musicalis/Sciencie stage an epistolary exchange between Rhetoric, Music, and a long list of French composers and singers. The letters complain that these musicians, whose ranks include Guillaume de Machaut and Philippe de Vitry, split words with rests when they write hockets. The critical tone of Musicalis/Sciencie implies that some ars nova composers must have regularly split words with hockets, while others—the motet’s composer, for one—held this to be bad practice. But since modern editions and medieval scribes alike are imprecise in the placement of text around hockets, the existence of such opposing camps seems difficult to substantiate. An analysis of text-note alignment in four sources for Apta/Flos reveals that some scribes were prescriptive in their texting of hockets, while others, like the scribe of the important Ivrea codex, were pragmatic. An awareness of these differences can lead to alternate modes of interpreting ambiguous text underlay. In the case of Philippe de Vitry’s Petre/Lugentium, shifting syllables adjacent to hockets can transform the work, highlighting carefully differentiated textural zones that are key to its structure. Such editorial intervention can in turn yield fresh insight into competing compositional approaches.
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5

Ros-Fábregas, Emilio. "THE CARDONA AND FERNÁNDEZ DE CÓRDOBA COATS OF ARMS IN THE CHIGI CODEX". Early Music History 21 (4 de septiembre de 2002): 223–58. http://dx.doi.org/10.1017/s0261127902002061.

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The Chigi Codex occupies a place of honour among music manuscripts of the Renaissance; thirteen masses by Ockeghem along with L'homme armé masses by Josquin, Busnoys, Brumel and Compère figure prominently among its contents. According to Herbert Kellman, it was copied between 1498 and 1503 for the Burgundian nobleman Philippe Bouton. Several coats of arms of the Spanish families Cardona and Fernández de Córdoba appear in different places in the manuscript and Kellman suggested that the transfer of the Chigi Codex to the Spaniards occurred after the death of its first owner in 1515. Seven works, the foliation in the upper right margin of the recto folios and a table of contents with a heading that reads Tabla de missas y motetes were added by a Spanish scribe. Since Mouton's motet Quis dabit oculis, written on the death of Anne of Brittany in 1514, is also among the added works, Kellman concluded that these additions to the Chigi Codex were made after that date. The assumption that the manuscript travelled to Spain is further supported by a seventeenth-century inscription written in Italian on the flyleaf of the manuscript, which affirms that the book was used in Spain.
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6

Wathey. "WORDS AND MUSIC IN THE MOTETS OF PHILIPPE DE VITRY". Revista de Musicología 16, n.º 3 (1993): 1548. http://dx.doi.org/10.2307/20796011.

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7

Wathey, Andrew. "The motets of Philippe de Vitry and the fourteenth-century renaissance". Early Music History 12 (enero de 1993): 119–50. http://dx.doi.org/10.1017/s0261127900000152.

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Towards the end of August 1350, Petrarch wrote from his home at Padua to Philippe de Vitry, chastising his friend for a letter that he had sent to their mutual patron, Cardinal Guy de Boulogne, papal legate in Italy. Vitry's mind has slowed since their first acquaintance, writes Petrarch, so that he now considers even a glorious absence from France undesirable. The man who, when asked where he was from, answered that he was a citizen of the world, now thinks any departure from France an exile. The dust of France lies too heavily on his shoes; the Petit-Pont in Paris, ‘its arch not quite in the shape of a tortoise shell’, is too appealing to him, and the murmur of the Seine delights his ear too much.
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8

Artemieva, Vira. "The genre of the motet in the Jean-Philippe Rameau's creativity". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 124 (25 de abril de 2019): 76–85. http://dx.doi.org/10.31318/2522-4190.2019.124.165411.

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9

Werbeck, Walter. "Kirchenferne "Operngesänge" - "wahrer Oratorienstyl" - "unermeßlicher Inhalt" : Schütz-Bilder im 19. Jahrhundert und ihre Vermittler". Schütz-Jahrbuch 27 (21 de julio de 2017): 7–23. http://dx.doi.org/10.13141/sjb.v2005610.

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Das Heinrich-Schütz-Bild des 19. Jahrhunderts, geprägt durch Carl von Winterfeld, war im Wesentlichen das eines Komponisten, der die Grundlagen des Oratoriums gelegt hatte. Noch Philipp Spitta war am Jahrhundertende der Meinung, Johann Sebastian Bach wie Georg Friedrich Händel hätten ihre oratorischen Werke sozusagen auf schützischer Grundlage geschrieben. Auch wenn gelegentlich Schütz'sche Motetten als Beispiele für die alte A-cappella-Kirchenmusik erklangen: Als Hauptwerke des Meisters galten seine Passionen sowie die Vertonung der Sieben Worte. Popularisiert wurden die Stücke in einer Bearbeitung durch Carl Riedel, der sie dem Zeitgeschmack kommensurabel zu machen suchte. Weil aber Riedel zugleich langjähriger Vorsitzender des durch Franz Liszt gegründeten Allgemeinen Deutschen Musik-Vereins war, erweiterte sich das Schütz-Bild um einige neudeutsche Farben: Man spannte Schütz nun ebenso mit Ludwig van Beethoven wie mit Richard Wagner zusammen. So problematisch und verzerrt dieses Bild war, so hat es doch die Beschäftigung mit Schütz erstmals auf eine breitere Basis gestellt. Die erste Gesamtausgabe durch Spitta wäre ohne Riedel wohl nicht möglich geworden. (Autor) Quelle: Bibliographie des Musikschrifttums online
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10

Maul, Michael. "Zur zeitgenössischen Verbreitung von Bachs Vokalwerken in Mitteldeutschland". Bach-Jahrbuch 91 (9 de marzo de 2018): 95–107. http://dx.doi.org/10.13141/bjb.v20051762.

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Der Autor stellt sich der tradierten Auffassung entgegen, Bachs Vokalschaffen sei seinerzeit lediglich ausnahmsweise außerhalb seiner eigenen Wirkungsstätten erklungen und er lediglich als Tastenvirtuose von weitergehendem Ruf gewesen. Er skizziert die Genese dieses Bach-Bildes und zeichnet parallel die Entwicklung einer gegenläufigen Sicht nach, die sich auf verschiedene nach und nach zu Tage getretene Dokumente stützt. Um solche systematisiert und stichhaltig auswerten zu können, werden zunächst die Grundlagen der Auswahl und Auswertung solcher Quellen festgestellt. Vier Beispielbetrachtungen zu mitteldeutschen Kirchenmusikerkollegen Bachs (G. G. Wagner, J. T. Krebs d. Ä., J. A. Matthaei, G. F. Einicke) und deren belegbarer Bach-Rezeption ergänzen diese Grundüberlegungen. Erwähnte Artikel: Hans Löffler: Die Schüler Joh. Seb. Bachs. BJ 1952, S. 5-28 Peter Wollny: Neue Bach-Funde. BJ 1997, S. 7-50 Michael Maul, Peter Wollny: Quellenkundliches zu Bach-Aufführungen in Köthen, Ronneburg und Leipzig zwischen 1720 und 1760. BJ 2003, S. 97-142 Weiterführende Artikel: Rainer Kaiser: Palschaus Bach-Spiel in London. Zur Bach-Pflege in England um 1750. BJ 1993, S. 225-230 Ulrich Leisinger: "Es erhub sich ein Streit" (BWV 19). Carl Philipp Emanuel Bachs Aufführungen im Kontext der Hamburger Michaelismusiken. BJ 1999, S. 105-126 Andrew Talle: Nürnberg, Darmstadt, Köthen - Neuerkenntnisse zur Bach-Überlieferung in der ersten Hälfte des 18. Jahrhunderts. BJ 2005, S. 143-172 Uwe Wolf: Zur Leipziger Aufführungstradition der Motetten Bachs im 18. Jahrhundert. BJ 2005, S. 301-310 Anselm Hartinger: Materialien und Überlegungen zu den Bach-Aufführungen August Eberhard Müllers. BJ 2006, S. 171-204
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Tesis sobre el tema "Philippe {de Motette"

1

Silies, Michael. "Die Motetten des Philippe de Monte (1521 - 1603)". Göttingen V & R Unipress, 2006. http://d-nb.info/993612652/04.

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2

Reipsch, Brit. "Bemerkungen zu Georg Philipp Telemanns Motetten". Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36719.

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3

Coplestone-Crow, Natasha. "Philippe de Vitry and the development of the early fourteenth-century motet". Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311732.

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Libros sobre el tema "Philippe {de Motette"

1

Leech-Wilkinson, Daniel. Compositional techniques in the four-part isorhythmic motets of Philippe de Vitry and his contemporaries. New York: Garland, 1989.

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2

Die Motetten des Philippe de Monte (1521-1603) (Abhandlungen zur Musikgeschichte). V&R Unipress, 2009.

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Capítulos de libros sobre el tema "Philippe {de Motette"

1

Fabre, Isabelle y Gisèle Clément. "Vanité et réécriture : un motet du xve siècle imité de Philippe de Vitry". En Vanités, compositions de la fin, 49–64. Presses universitaires de la Méditerranée, 2019. http://dx.doi.org/10.4000/books.pulm.1866.

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2

McCarthy, Kerry. "The Gyffard Partbooks". En Tallis, 123–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0011.

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The Gyffard Partbooks are a priceless source of Tallis’s music because 95 percent of their contents are found nowhere else. Unlike most surviving collections of Latin church repertory in England, this is an anthology of three-voice and four-voice music. It shows Tallis and his mid-century colleagues (some of them considerably younger) writing on a smaller scale. The chapter looks in detail at a number of Tallis’s works in the Gyffard books, including an enigmatic four-voice mass and a motet (Sancte Deus) that shows close ties to the distinguished Tudor court musician Philip van Wilder. This is the last pre-Reformation chapter in the book. Starting with the music described in Chapter 12, Tallis will begin writing for services in English.
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