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Musica: Music about Music and Musici...

Hatter, Jane Daphne.

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Musica: Music about Music and Musicians, 1450-1530.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musica: Music about Music and Musicians, 1450-1530./
Author:	Hatter, Jane Daphne.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2014,
Description:	307 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
Subject:	Middle Ages. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28254054
ISBN:	9798597026503

Musica: Music about Music and Musicians, 1450-1530.
Hatter, Jane Daphne.

Musica: Music about Music and Musicians, 1450-1530. - Ann Arbor : ProQuest Dissertations & Theses, 2014 - 307 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2014.

This item must not be sold to any third party vendors.

Textual or compositional elements that refer to music or musicians (which might be called "self-referential" or "self-reflexive") are prominent in many of the most intriguing and celebrated compositions from the second half of the fifteenth century. These features include textual references, such as the personal tropes in Du Fay's Ave regina celorum III or the thirteen musicians named in Compere's Omnium bonorum plena. Others are compositional constraints such as the mensuration canons of Ockeghem's Missa Prolationum or the hexachordal cantus firmus of Josquin's Ut phebi radiis. Some pieces include both textual and structural self-referents, as in the acrostic text and solmization-derived cantus firmus of Josquin's Illibata dei virgo nutrix. Often either dismissed as musical in-jokes or, alternately, mined as sources for biographical information, this large group of pieces has never before been considered as a source of evidence for composers' new sense of professional identity in the late fifteenth century, an idea first proposed by Rob Wegman in his article "From Maker to Composer" (1994). I draw connections between self-referential features, both textual and musical, and source information for over 100 compositions, demonstrating how composers promoted the intellectual status of composed music c. 1500, carving a niche for the professional composer.The dissertation is divided into two sections-I: Music about Musicians; and II: Music about Music. Each section is introduced by a short chapter that shows how expressions of the professional concerns of musicians in compositions are mirrored in the way similar issues are expressed in paintings associated with professional guilds of painters. Chapters 2-4 situate a variety of pieces, including memorial pieces by Du Fay, musicians' motets in general, and polyphonic laments for musicians, in the devotional and social environments of the late fifteenth century. Chapters 6-7 focus on compositions that foreground abstract concepts of music theory, such as complex mensural structures or the hexachord. This section shows how these compositional structures derived from music theory worked in tandem with the theoretical treatises of Tinctoris and Gaffurius to promote the status of music as a liberal art. By contributing to our understanding of the complex interactions between composed music and humanistic discourse in early modern Europe, this dissertation reveals musical expressions of musicians' own agency in the process of professionalization.

ISBN: 9798597026503Subjects--Topical Terms:

568537
Middle Ages.
Subjects--Index Terms:

DuFay, Guillaume

Musica: Music about Music and Musicians, 1450-1530.
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245 1 0 $a Musica: Music about Music and Musicians, 1450-1530.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2014
300 $a 307 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
500 $a Advisor: Schubert, Peter N;Cumming, Julie E.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2014.
506 $a This item must not be sold to any third party vendors.
520 $a Textual or compositional elements that refer to music or musicians (which might be called "self-referential" or "self-reflexive") are prominent in many of the most intriguing and celebrated compositions from the second half of the fifteenth century. These features include textual references, such as the personal tropes in Du Fay's Ave regina celorum III or the thirteen musicians named in Compere's Omnium bonorum plena. Others are compositional constraints such as the mensuration canons of Ockeghem's Missa Prolationum or the hexachordal cantus firmus of Josquin's Ut phebi radiis. Some pieces include both textual and structural self-referents, as in the acrostic text and solmization-derived cantus firmus of Josquin's Illibata dei virgo nutrix. Often either dismissed as musical in-jokes or, alternately, mined as sources for biographical information, this large group of pieces has never before been considered as a source of evidence for composers' new sense of professional identity in the late fifteenth century, an idea first proposed by Rob Wegman in his article "From Maker to Composer" (1994). I draw connections between self-referential features, both textual and musical, and source information for over 100 compositions, demonstrating how composers promoted the intellectual status of composed music c. 1500, carving a niche for the professional composer.The dissertation is divided into two sections-I: Music about Musicians; and II: Music about Music. Each section is introduced by a short chapter that shows how expressions of the professional concerns of musicians in compositions are mirrored in the way similar issues are expressed in paintings associated with professional guilds of painters. Chapters 2-4 situate a variety of pieces, including memorial pieces by Du Fay, musicians' motets in general, and polyphonic laments for musicians, in the devotional and social environments of the late fifteenth century. Chapters 6-7 focus on compositions that foreground abstract concepts of music theory, such as complex mensural structures or the hexachord. This section shows how these compositional structures derived from music theory worked in tandem with the theoretical treatises of Tinctoris and Gaffurius to promote the status of music as a liberal art. By contributing to our understanding of the complex interactions between composed music and humanistic discourse in early modern Europe, this dissertation reveals musical expressions of musicians' own agency in the process of professionalization.
520 $a Les elements textuels ou compositionnels faisant reference a la musique ou aux musiciens (que l'on pourrait appeler auto-referentiels ou auto-reflexifs) sont tres presents dans plusieurs des compositions les plus intriguantes et les plus celebres de la deuxieme moitie du 15e siecle. Ces elements incluent des references textuelles, telles que les tropes personnels dans Ave Regina Caelorum III de Du Fay ou encore les 13 musiciens mentionnes dans Omnium bonorum plena de Compere. D'autres sont des contraintes compositionnelles tels que les canons mesures de la messe Missa Prolationum d'Ockeghem ou les cantus firmus hexacordaux d'Ut phebi radiis de Josquin. Certaines pieces incluent a la fois des auto-references textuelles et structurelles, tels que des acrostiches et des cantus firmus derives de la solmization d'Illibata dei virgo nutrix de Josquin. Souvent balayees du revers de la main comme simple plaisanterie musicale, ou, au contraire, analysees pour leurs sources d'informations biographiques, ce groupe important d'oeuvres n'a jamais ete considere auparavant comme indication du nouveau sentiment d'identite professionnelle des compositeurs de la fin du 15e siecle, idee initialement proposee par Rob Wegman dans son article "From Maker to Composer" (1994). J'etablis des liens entre les caracteristiques auto-referentielles, textuelles et musicales, et l'informationsource pour plus d'une centaine de compositions, demontrant comment les compositeurs ont pu promouvoir le statut intellectuel de la musique notee c. 1500, developpant ainsi un nouveau creneau pour le compositeur professionnel.Cette these comporte deux parties - I: La Musique a propos de musiciens; et II: La Musique a propos de la musique. Chaque section est introduite par un court chapitre demontrant comment les preoccupations profesionnelles des musiciens presentes dans leurs compositions refletent des preoccupations similaires exprimees dans des peintures associees avec certaines confreries professionnelles de peintres. Les chapitres 2-4 situent une variete d'oeuvres, incluant des oeuvres commemoratives de Du Fay, des motets de musiciens en general, et des lamentations polyphoniques pour des musiciens, dans leurs environnements devotionnel et social de la fin du 15e siecle. Les chapitres 6-7 s'interessent a des compositions mettant l'emphase sur des concepts abstraits de theorie musicale, tels que les structures mesurees complexes ainsi que l'hexacorde. Cette section montre comment ces structures compositionelles derivees de la theorie musicale vont de pair avec les traites theoriques de Tinctoris et Gaffurius afin de promouvoir le statut de la musique comme art liberal. Contribuant ainsi a notre comprehension des interactions complexes entre la musique notee et le discours humaniste du debut de l'Europe moderne, cette these revele les expressions musicales du pouvoir propre des musiciens au cours du processus de professionnalisation.
590 $a School code: 0781.
650 4 $a Middle Ages. $3 568537
650 4 $a Libraries. $3 525303
650 4 $a Music theory. $3 547155
650 4 $a Musicology. $3 575902
650 4 $a Society. $3 700566
650 4 $a Music. $3 516178
653 $a DuFay, Guillaume
690 $a 0413
710 2 $a McGill University (Canada). $3 1018122
773 0 $t Dissertations Abstracts International $g 82-10A.
790 $a 0781
791 $a Ph.D.
792 $a 2014
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28254054