Dufay's Nuper rosarum flores, King Solomon's Temple, and the Veneration of the Virgin

Wright, Craig

doi:10.2307/3128798

Cited by 67 publications

(3 citation statements)

References 28 publications

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“…This theory, proposed by Charles Warren in 1973, hypothesized that there was a correlation between the sections of the motet and the dimensions of the cathedral (nave, apse, transept, dome height) due to their shared mensural, temporal and spatial relationships -6:4:2:3derived from the fact that they follow the same pattern: 28 musical breves corresponds to 28 Florentine braccia (a measurement of about two feet). This theory was explicitly based on the epistemological model proposed by Wittkower (Warren 1973), and, as mentioned, has been at the centre of a storm of corrections, refutations, and amendments over the years, with still no sign of a consensus (Wright 1994;Trachtenberg 2001).…”

Section: Architecture and Musicmentioning

confidence: 99%

Music, Architecture, Proportion and the Renaissance Way of Thinking

Zara¹

2020

European Review

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During the Renaissance, the language of proportion became a unified theory capable of encompassing the understanding of the world within a coherent theological, philosophical and artistic framework. Music, with its harmonic paradigm, plays a key role in this construction. From the fifteenth century through to the end of the sixteenth century, architects and architectural theorists made reference, both in new treatises and commentaries to Vitruvius, to musical matters, transforming architecture into the summa of knowledge. The affinity to music was grounded on both a common mathematical and rhetoric gnosiology. Formerly conceived of as ideal, numbers became eloquent, reinforcing the quantitative paradigm of proportion with its qualitative one. The language of proportion as a compositional tool reveals the shift between the Middle Ages and the Renaissance: while the Medieval tèchne based on modular thinking provides beauty and universal truth using the technique of repetition, the Humanist paradigm of variety produces pleasure and individual truth – a condition typical of the premodern.

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Section: Architecture and Musicmentioning

confidence: 99%

Music, Architecture, Proportion and the Renaissance Way of Thinking

Zara¹

2020

European Review

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“…The chant was sung both as the gradual at mass and the responsory at vespers on Easter Sunday and the Sunday after Easter (see Craig Wright, Music andCeremony at Notre Dame of Paris, 500-1550 [Cambridge andNew York: Cambridge University Press, 1989], 263 [table 5]). The respond draws its text from Psalm 117:24, the verse from a textual refrain that appears in numerous Psalms (105:1, 106:1, 117:1 and 29, and 135:1).…”

Section: ά ·mentioning

confidence: 99%

The Marian Symbolism of Spring, ca. 1200-ca. 1500: Two Case Studies

Rothenberg¹

2006

Journal of the American Musicological Society

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.I saw a beautiful woman ascending like a dove over the banks of the waters, whose inestimable fragrance was overwhelming in her garments. And like a spring day, rose blossoms and lilies of the valley surrounded her.-Vidi speciosam (Responsory for the Feast of the Assumption of the Virgin)Rose, lily, springtime, greenery, Flower, balm, and sweetest fragrance, Lovely Lady, you surpass them all in sweetness.-Guillaume de Machaut, Rose, liz (Rondeau 10)All therefore look with joy upon the resurgent Christ. Flowers and fields flourish with renewed fruit, and with the sorrowful frost cleared away, birds sing sweetly.-Notker Balbulus, Laudes salvatori (Sequence for Easter Sunday) I n the high and late Middle Ages, the flowers that bloomed in the spring season were fraught with symbolic value. Red roses symbolized virginity, white lilies purity. Both were invoked again and again in secular song praising an elevated beloved and in sacred verse venerating the Virgin Mary. The liturgy of Easter, moreover, viewed spring blossoms as an earthly sign of the salvation made possible by Christ's Resurrection. The earthly vibrancy of the vernal season did more than provide a vocabulary of images common to

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“…"Das gegenseitige Verhältnis der Zeitmaße", so faßt Rolf Dammann 1964 diesen Befund zusammen, "ist zahlhaft geregelt und dem subjektiv-interpretierenden Eigenwillen des Menschen von vornherein entzogen." 43 Zusammen mit dem Bericht des Florentiner Humanisten Giannozzo Manetti, daß "es den Hörern ohne Zweifel erschien, sie vernähmen den göttlichen Gesang 48 . Nicht die Dimensionen des Florentiner Domes, sonder die des Salomonischen Tempels, wie sie im 1.…”

Section: Dufay: Missa "Nuper Rosarum Flores"unclassified

Maß und Klang. Die Gestaltung des Tonraumes in der frühen abendländischen Mehrstimmigkeit

Berger¹

1998

Raum Und Raumvorstellungen Im Mittelalter

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Die "Vorstellung der Welt als Uhrwerk" war für die Atomtheoretiker der frühen Neuzeit "zwar ohne weiteres auf Sternbahnen anwendbar, scheiterte aber regelmäßig an der Übertragung auf biologische Vorgänge" 1 . Für die Musik hat das 1739 der Hamburger Opernunternehmer und Musikschriftsteller Johann Mattheson erkannt: "Man bestimme die mathematischen Verhältnisse der Klänge mit ihrer Quantität wie man wolle, es wird sich doch in Ewigkeit kein rechter Zusammenhang mit den Leidenschaften der Seele daraus allein abnehmen lassen." 2 Vor dem Hintergrund zahlreicher Beschwörungen der Sphärenharmonie, aber auch angesichts mancher emphatischer Formulierung der musikalischen Mediävistik unsereres Jahrhunderts 3 wirkt die eher pragmatische Skepsis Matthesons geradezu wohltuend. Aber die Vorstellung, daß alles, der himmlische Kosmos wie auch die Musik, "nach Maß, Zahl und Gewicht geordnet" 4 sei, übt bis zum heutigen Tage eine ungebrochene Faszination aus. Sie hat den mediävistischen Bereich unseres Faches bis in die Details der analytischen Arbeit hinein in einem Maße geprägt, daß es noch heute schwer fällt, den Blick auf andere Zusammenhänge zu richten.Über all den mythischen Bildern von der Harmonie der kosmischen Sphären vergessen wir allzuleicht, daß es in dieser pythagoräischen Lehre um einfache mathematische Verhältnisse geht. Die Leistung Pythagoras' bestand nun nicht nur darin, diese Verhältnisse im Bau des Kosmos entdeckt zu haben -wobei er sich hier wohl "an altorientalische Vorbilder angeschlossen" hat 5 -, sondern daß er diese Verhältnisse als "in Zahlbegriffen

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Dufay's Nuper rosarum flores, King Solomon's Temple, and the Veneration of the Virgin

Cited by 67 publications

References 28 publications

Music, Architecture, Proportion and the Renaissance Way of Thinking

Music, Architecture, Proportion and the Renaissance Way of Thinking

The Marian Symbolism of Spring, ca. 1200-ca. 1500: Two Case Studies

Maß und Klang. Die Gestaltung des Tonraumes in der frühen abendländischen Mehrstimmigkeit

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