Embellishment in early Sixteenth-Century Italian Intabulations-Reference-Cited by-同舟云学术

Embellishment in early Sixteenth-Century Italian Intabulations

Published:1973 Issue: Volume:100 Page:49-83
ISSN:0080-4452
Container-title:Proceedings of the Royal Musical Association
language:en
Short-container-title:Proc. R. Music. Assoc.

Author:

Brown Howard Mayer

Abstract

We are relatively well informed about both the theory and the practice of embellishing late sixteenth-century music. Treatises by Bassano, Bovicelli, Conforto, Dalla Casa, Rogniono and others supply numerous and elaborate decorative formulas which were intended to be superimposed upon the unadorned melodic lines of madrigals, chansons, and even motets by Cipriano da Rore, Alessandro Striggio, Philippe de Monte, Andrea Gabrieli, the ‘inviolable’ Palestrina, and their contemporaries. Most of the treatises offer as well examples of actual music embellished in this way so that we can know for certain how virtuoso soloists, both vocal and instrumental, transformed apparently sober polyphonic music into accompanied monodies filled with fioriture and the most extravagant virtuoso display.

Publisher

Cambridge University Press (CUP)

Reference36 articles.

1. The table follows the pattern established by Ganassi in his Fontegara of 1535 and imitated numerous times later in the sixteenth century. The basic interval is given first without clef, to allow transposition to any pitch. The graces that follow are written in time values that correspond to the form of the basic interval; but they can be doubled or halved in value or added to the vocal original in some other rhythmic permutation.

2. The vocal version is taken from Odhecaton, ed. Hewitt, p. 379, and the in tabulation from Spinacino, Intabulatura I, No. 2.

3. Das Buxheimer Orgelbuch, ed. Bertha Wallner (Das Erbe deutscher Musik, xxxvii-xxxix), Cassel, 1958–9. All of the other fifteenth-century German keyboard manuscripts are published in Keyboard Music of the Fourteenth and Fifteenth Centuries, ed. Willi Apel (Corpus of Early Keyboard Music, i), American Institute of Musicology, 1963.

4. The First Book of Consort Lessons Collected by Thomas Motley, 1599 and 1611, ed. Sydney Beck, New York, 1959.

5. On these mid-century lutenists see Chilesotti Oscar , ‘Note circa alcuni liutist i italiani della prima metà del Cinquecento’, Rivista musicale italiana, ix (1902), 36–61 and 233–63. On Bianchini, see R. de Morcourt, ‘Le Livre de tablature de luth de Domenico Bianchini (1546)’, La Musique. instrumentale de la Renaissance, ed. Jean Jacquot, Paris, 1955, pp. 177–95; on Crema, H. Colin Slim, ‘Gian and Gian Maria, Some Fifteenth- and Sixteenth-Century Namesakes’, The Musical Quarterly, lxxvii (1971), 562–74, and the modern edition of Crema's anthology, ed. Giuseppe Gullino, Florence, 1955; on Perino, Elwyn A. Wienandt, ‘Perino Fiorentino and his Lute Pieces’, Journal of the American Musicological Society, viii (1955), 2–13, and Frank A. D'Accone, ‘Alessandro Coppini and Bartolomeo degli Organi’, Analecta musicologica, iv (1967), 49–50, where Perino is identified as the son of Bartolomeo; on Rotta, Elda Martellozzo Forin, ‘Il maestro di liuto Antonio Rotta (†1549) e student: dell'università di Padova suoi allievi’, Memorie della Accademia Patavina (Classe di Scienze Morali, Lettere ed Arti), lxxix (1966–67), 425–43; and on Francesco, H. Colin Slim, ‘Francesco da Milano (1497–1543/44): A Bio-Bibliographical Study’, Musica Disciplina, xviii (1964), 63–84, and xix (1965), 109–29.