The Celebration of the "Recollectio Festorum Beatae Mariae Virginis", 1457-1987

Haggh, Barbara

doi:10.2307/902239

Cited by 5 publications

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“…Composed just ten years before Hothby's arrival at San Martino, it likewise exhibited the modal order and melodic style associated with post-Gregorian plainsong. 108 Indeed, Du Fay obtained an added degree of modal clarity by adhering to the rules on monophony set forth in Guido of Arezzo's Micrologus. Most conspicuously, all but four of his melodies not only begin but end on the final as per Guido's instructions.…”

Section: mentioning

confidence: 99%

John Hothby and the Cult of St Regulus at Lucca

Brand

2008

Early Music History

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On 20 February 1469, the cathedral canons of Lucca appeared before the general council of their city to plead on behalf of their choirmaster of less than two years, John Hothby. Warning that this Englishman and Carmelite friar might accept a more lucrative post elsewhere, they asked the council to supplement his salary provided by themselves and the local nobleman, Nicolao da Noceto. Such support, they assured, would guarantee Hothby’s continued residence in Lucca and thus his cultivation of ‘so many talented students in music and in the practice of it that he will not only be useful to the clergy but also the highest consolation and praise to the entire people’. Their predictions had the desired effect, as the council granted the choirmaster a monthly stipend of 2 ducats.

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Section: mentioning

confidence: 99%

John Hothby and the Cult of St Regulus at Lucca

Brand

2008

Early Music History

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MS 6b12 in the Grey Collection of the National Library in Cape Town: A rare musicological discovery

Steyn

2009

Muziki

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

Wright¹

1994

Journal of the American Musicological Society

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Analysis of the architecture of the cathedral of Florence suggests that there is no correlation between the structural proportions in that church and the durational ratios in Guillaume Dufay's motet Nuper rosarum flores (as suggested by Charles Warren in 1973). The inspiration for the formal plan of the motet was likely not architecture, but a biblical passage (1 Kings 6:1-20), which gives the dimensions of the Temple of Solomon as 60 x 40 x 20 x 30 cubits. The vision of the Temple and, to a lesser degree, the image of the womb of the Virgin as the temple of Christ were elaborated upon by countless medieval exegetes, sermonizers, liturgical commentators, poets, and manuscript illuminators. Dufay expressed the traditional numerical symbols of the Temple (6:4:2:3, 4 and 7) and that of the Virgin (7) throughout the structure of his motet and thereby effected a musical union of these two spiritual forces.

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The Celebration of the "Recollectio Festorum Beatae Mariae Virginis", 1457-1987

Cited by 5 publications

References 0 publications

John Hothby and the Cult of St Regulus at Lucca

John Hothby and the Cult of St Regulus at Lucca

MS 6b12 in the Grey Collection of the National Library in Cape Town: A rare musicological discovery

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

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