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Questions of authorship are central to the late thirteenth-century motet repertoire represented by the seventh section or fascicle of the Montpellier Codex (Montpellier, Bibliothque interuniversitaire, Section de mdecine, H. 196, hereafter Mo). Mo does not explicitly attribute any of its compositions, but theoretical sources name Petrus de Cruce as the composer of the two motets that open fascicle 7, and three later motets in this fascicle are elsewhere ascribed to Adam de la Halle. This monograph reveals a musical and textual quotation of Adam's Aucun se sont loe incipit at the outset of Petrus's Aucun ont trouve triplum, and it explores various invocations of Adam and Petrus - their works and techniques - within further anonymous compositions. Authorship is additionally considered from the perspective of two new types of motets especially prevalent in fascicle 7: motets that name musicians, as well as those based on vernacular song or instrumental melodies, some of which are identified by the names of their creators. This book offers new insights into the musical, poetic, and curatorial reception of thirteenth-century composers' works in their own time. It uncovers, beneath the surface of an anonymous motet book, unsuspected interactions between authors and traces of compositional identities.
Motets. --- Music --- Philosophy and aesthetics. --- Choruses --- Part songs --- Part songs, Sacred --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy
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This wide-ranging contribution to the study of nationalism and the social history of music examines the relationship between choral societies and national mobilization in the nineteenth century. From Norway to the Basque country and from Wales to Bulgaria, this pioneering study explores and compares the ways choral societies influenced and reflected the development of national awareness under differing political and social circumstances. By the second half of the nineteenth century, organized communal singing became a primary leisure activity that attracted all layers of society. Though strongly patriotic in tone, choral societies borrowed from each other and relied heavily on prominent German or French models. This volume is the first to address both the national and transnational significance of choral singing. Contributors are: Carmen De Las Cuevas Hevia, Jan Dewilde, Tomáš Kavka, Anne Jorunn Kydland, Krisztina Lajosi, Joep Leerssen, Sophie-Anne Leterrier, Jane Mallinson, Tatjana Marković, Fiona M. Palmer, Karel Šima, Andreas Stynen, Dominique Vidaud, Ivanka Vlaeva, Jozef Vos, Gareth Williams, Hana Zimmerhaklová.
nationalisme --- Music --- verenigingsleven --- History of Europe --- National movements --- koormuziek --- anno 1800-1899 --- Choral societies --- Nationalism --- Choral societies. --- Nationalism. --- Consciousness, National --- Identity, National --- National consciousness --- National identity --- International relations --- Patriotism --- Political science --- Autonomy and independence movements --- Internationalism --- Political messianism --- Choral groups --- Choruses (Musical groups) --- Singing societies --- Vocal groups --- Choirs (Music) --- History. --- Societies, etc. --- Europe. --- Council of Europe countries --- Eastern Hemisphere --- Eurasia
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Cape Town’s public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the ‘research tools’ one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive ‘mother city’. Various of its constituent parts sound different from each other … [T]here is the sound of the singing men and their choirs (“teams” they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. […] There are texts of the hallowed ‘Dutch songs’ but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago – back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city.
Music --- Choral societies --- Minstrels --- Social aspects --- History and criticism. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Jongleurs --- Choral groups --- Choruses (Musical groups) --- Singing societies --- Folk songs --- Bards and bardism --- Manners and customs --- Poets --- Vocal groups --- Choirs (Music) --- Societies, etc. --- Musicians
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