Antoine Busnoys
Method, Meaning, and Context in Late Medieval Music
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Product details:
- Publisher OUP Oxford
- Date of Publication 11 November 1999
- ISBN 9780198164067
- Binding Hardback
- No. of pages622 pages
- Size 242x163x42 mm
- Weight 1174 g
- Language English
- Illustrations 6 halftones, 15 figures, 22 tables, numerous music examples 0
Categories
Short description:
This volume brings together twenty original essays by distinguished scholars on the life, works, and cultural context of Antoine Busnoys (c.1430-1492), musician to Charles the Bold, duke of Burgundy, and one of the most celebrated composers of the fifteenth century. These widely ranging studies offer a wealth of new information about musical culture in the late Middle Ages that is of interest not only to medievalists, but to students of all fields of music historical antiquity.
MoreLong description:
This volume brings together twenty original essays by distinguished scholars of late medieval music on the life, works, and cultural context of the composer Antoine Busnoys (c.1430-1492), musician to Charles the Bold, Duke of Burgundy, and one of the most celebrated composers of the fifteenth century. The essays present the results of much new research on music, ceremony, and ritual in the late Middle Ages; intertextual, contextual, and hermeneutic approaches to the music of Busnoys and his contemporaries; methods for assessing issues of authorship and anonymity; readings of theorists on compositional procedures and the performance of fifteenth-century music; and assessments of Busnoys's legacy to the musical culture of the late Middle Ages.
Particularly noteworthy are the studies providing new light on the origins of L'homme armé mass tradition; unpublished documents on Busnoys's activity in churches in Poitiers and Brussels; previously unidentified liturgical sources for his plainchant cantus firmi; and studies and complete editions of several anonymous works newly attributed to Busnoys. These widely ranging essays offer a wealth of novel approaches to the study of musical culture in the late Middle Ages that is of interest not only to medievalists, but to students of all fields of music historical inquiry.
A useful appendix sketching a chronology thoroughly updated in the light of current Busnoys scholarship ... Overall the essays in this book are so stimulating and wide-ranging in their approach that the findings presented in this long volume are far-reaching in their implications, not just for Busnoys studies (although especially for him) but for our understanding of the late medieval musical culture as a whole.
Table of Contents:
List of Illustrations
List of Tables
List of Music Examples
List of Complete Editions of Pieces
Abbreviations
Introduction. Celebrating Transgression and Excess: Busnoys and the Boundaries of Late Medieval Culture
`Trained and immersed in all musical delights': Towards a New Picture of Busnoys
Part I Music, Ceremony, and Ritual in Late Middle Ages
Music and Ritual at Charles the Bold's Court: The Function of Liturgical Music by Busnoys and his Contemporaries
Appendix A. Passages from the 1469 Regulations at Charles the Bold's Court Concerning Singing
Appendix B. Liturgical Occasions Celebrated with Special Solemnity at the Court of Charles the Bold
Appendix C. The Contents of Brussels 5557
On the Origins, Contexts, and Implications of Busnoys's Plainsong Cantus Firmi: Some Preliminary Remarks
The Ceremony of the Armed Man: The Sword, the Altar, and the L'homme armé Mass
Appendix A. Extracts Concerning the Mass Called the Ceremony of the Armed Man, from the Zibaldone Quaresimale of Giovanni Rucellai
Appendix B. The Imperial or Royal Sword Ceremony during Christmas Matins from the Papal Ceremonial of Pierre Ameil, c.1375-1400
Appendix C. Papal Gifts of the Sword and Hat Blessed on Christmas and Sent to Distant Recipients, 1455-1503
Appendix D. Gifts in the Pope's Presence of the Blessed Sword and Hat, 1455-1503, in Rome
Appendix E. Text for the Presentation of the Blessed Sword and Hat, Instituted by Sixtus IV
Part II Intertextual, Contextual, and Hermeneutic Approaches to Late Medieval Musical Culture
Arma virumque cano: Echoes of a Golden Age
Musical Politics in Late Medieval Poitiers: A Tale of Two Choirmasters
Mensural Intertextuality in the Sacred Music of Antoine Busnoys
Appendix. Chapter Deliberation re: Busnoys v. Le Begue
Text, Tone, and Symbol: Regarding Busnoys's Conception in In hydraulis and its Presumed Relationship to Ockeghem's Ut heremita solus.
Appendix A. Busnoys's In hydraulis and it Sources
Appendix B. The Fifteenth-Century Orthography of Ockeghem's Name
Appendix C. In hydraulis: Letter-Values and Golden Sections
Part III Issues of Authorship, Attribution, and Anonymity in Archival and Musical Sources
The Magnificat Group of Antoine Busnoys: Aspects of Style and Attribution
Appendix. Text and Translation of the Magnificat
Resjois toi terre de France/Rex pacificus: An `Ockeghem' Work Reattributed to Busnoys
Busnoys and `Caron' in Documents from Brussels.
Appendix A. Documents from Brussels on Busnoys and `Caron'
Appendix B. Summary of Burgundian Court Escroes Showing Caron's Presence or Absence
Conflicting Attributions and Anonymous Chansons in the `Busnoys' Sources of the Fifteenth Century
Appendix A. Busnoys Song Attributions
Appendix B. Virelais in the Sources Central for Busnoys: A Summary Overview
Appendix C. Inventory of Virelais in the Sources Central for Busnoys
Appendix D. Catalogue of Chansons by Antoine Busnoys
Part IV Reading the Theorists on Compositional Procedures and Changing Styles
False Concords in Busnoys
Appendix A. Thirty-one Harmonic Fifths in Busnoys's Three-Part Chansons that are Probably Diminished
Appendix B. Busnoys, C'est bien maleur
Simultaneous Conception and Compositional Process in the Late Fifteenth Century
Reading Tinctoris for Guidance on Tempo
Part V Busnoys's Legacy
Henricus Isaac and Fortuna desperata
Appendix. Fortuna desperata: A List of Individual Settings of Voices Borrowed from the Canzona Attributed to Busnoys
Busnoys and Japart: Teacher and Student?
Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata
Appendix A. Fortuna desperata: Chronology to c.1510
Appendix B. Comparison of London 16439 and Riccardiana 2723 (Original Layer)
Appendix C. Stanze 33-37 of Poliziano, Stanze cominciate per la Giostra del Magnifico Giuliano de' Medici
Busnoys and Italy: The Evidence of Two Songs
Conference Closing Forum: Future Directions in Busnoys Studies
Notes on Contributors
Index of Compositions by Busnoys
General Index
