Improvisation as concept and musical practice in the fifteenth century

Canguilhem, Philippe

doi:10.1017/cho9781139057813.015

Cited by 17 publications

(1 citation statement)

References 16 publications

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“…This aim was based on Tinctoris's own assertion that formal composition (res facta) depended on the same technique as singing super librum (Tinctoris 1477, II, xxi), a point made by theorists as distant as Prosdocimus and Lusitano (Prosdocimus [1412(Prosdocimus [ ] 1984Canguilhem 2011, 94). While relative definitions of res facta and cantare super librum have been extensively debated (Bent 1983;Blackburn 1987;Canguilhem 2015), more important here was the a empt to test for a shared basis in the simple counterpoint of Book I of De arte contrapuncti. [2.2] Central to this testing was a simple software tool of my own design (Daly 2020, 69-76).…”

Section: Contrapuntal Backgroundmentioning

confidence: 99%

Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses

Daly

2023

MTO

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Contrapuntal direction—the principle that certain progressions may only occur through the motion of the contrapuntal voice towards a stable tenor—is a previously unrecognized implication of the teaching of the theorist and composer Johannes Tinctoris. Although Tinctoris’s interval successions are commonly the same whichever voice is the tenor, Tinctoris omits a small number of oblique progressions where the tenor would move. Although I will not investigate possible reasons for this omission, examples will show that when the missing progressions occur in repertoire, these can be explained by a reappraisal of the contrapuntal functions of the voices. The results extend Julie Cumming’s concept of the “movable module” and demonstrate its presence in music of the 1460s and 1470s. This principle emerges directly from a computer-assisted attempt to connect Tinctoris’s counterpoint with late-fifteenth century composition. Through its ability to recognise tenor function within a voice pair, to identify instances where the tenor function may have moved, or to mark voices that do not form a contrapuntal pair, directional analysis is able both to identify faulty analytical assumptions around voice pairing and to act as a validator of general theories of fifteenth-century compositional structure.

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Section: Contrapuntal Backgroundmentioning

confidence: 99%

Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses

Daly

2023

MTO

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Singing to the Lyre in Renaissance Italy

Wilson

2019

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Negli anni di Cristo mille dugento ottanta tre fu in Fiorenza grande e felice e buono istato, e molte feste e allegrezze se facevano per tutta la città ispesse volte, e di più paesi vi traevano giucolari e buffoni di più paesi. 1 [In the year of Christ 1283, Florence was in a great, happy, and good state of affairs, and often there were many celebrations and much merriment throughout the city, and there were giucolari and buffoni from many other places.]Performers and entertainers of all stripes were probably a common feature of medieval Italian urban life, but it is not easy to achieve a clear picture of their activities, or of how oral singer-poets fit into that picture. The documents are few (though not as few as some have claimed) and scattered, the nomenclature for secular musicians is notoriously vague, and the witnesses to their activities, mostly ecclesiastical and civic authorities, were predisposed to hold them in low regard. 2 ECCLESIASTICAL WITNESSESThe term used with greatest frequency and flexibility is ioculator (Italian: giullare, or giucolare), which at times designated secular entertainers of all sorts (along with the Latin terms histrio and mimus), but also seems to be the most common designation for singer-poets in particular. In his wide travels throughout Italy, the Franciscan chronicler Salimbene de Adam (1221-ca. 1290) frequently encountered ioculatores, who for him were singers or reciters whose verbal skills ranged from the frivolous to the witty and even dangerous. Salimbene himself took great delight in singing; he had two cousins who were "splendid singers," and an uncle who sang

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Introduction

2019

Singing to the Lyre in Renaissance Italy

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Improvisation as concept and musical practice in the fifteenth century

Cited by 17 publications

References 16 publications

Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses

Contrapuntal Direction and the Diagnosis of Compositional Relationships in Fifteenth-Century Masses

Singing to the Lyre in Renaissance Italy

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