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UOA 67 - Music > RA1, RA2 and RA5c
City University, London
UOA 67 - Music
RA1, RA2 and RA5c: Staff and output details and Category C staff circumstances
Bosi, C - Category : A
RA2 - Research outputs:
Number of outputs:
3
Output number: 1 of 3
| Title |
Tant que mon/nostre argent dura: Die Überlieferung und Bearbeitung einer "populären" Melodie in fünf mehrstimmigen Sätzen |
| Output type: |
Journal article |
| Journal title: |
Acta Musicologica |
| Month/year of publication: |
June 2005 |
| Pagination: |
205-228 |
| Volume: |
LXXVII |
| ISSN: |
00016241 |
| DOI: |
Not supplied ? |
| English abstract: |
The article focuses on the citation of a "popular" late 15th-century monophonic song in five different polyphonic elaborations by, respectively, Du Fay, Japart, Obrecht, la Rue and the anonymous composer of a cantus firmus mass. The analyses emphasise the different levels of the melody's integration within the polyphonic web and thus distinguishes between those cases where the composer uses the melody as a true 'citation' (Du Fay, Japart) and those where it is used as a more or less neutral scaffolding (Obrecht, la Rue, the anonymous mass author). The analytical results are prefaced by considerations of the meaning of "popular" for late medieval culture and followed by others relating to the possibility of reconstructing a (presumably) monophonic melody starting from its surviving polyphonic elaborations. This article represents the first fruit of my present research project and exemplifies both the possible problems and positive scientific results of wide-ranging research in the field of musical citation and cultural transfer processes across different social strata, such as "popular" song tags and the cultivated and refined art of late medieval Franco-Flemish polyphony.
|
Output number: 2 of 3
| Title |
Modalità e Polifonia: una discussione critica sui più recenti approci di ricerca |
| Output type: |
Journal article |
| Journal title: |
Revista Italiana di Musiologia |
| Month/year of publication: |
June 2004 |
| Pagination: |
173-198 |
| Volume: |
XXXIX n. 1 |
| ISSN: |
0035-6867 |
| URL: |
Original article on web ? |
| DOI: |
Not supplied ? |
| English abstract: |
The essay aims at providing a critically informed overview of a theoretical debate concerning the applicability of traditional modal theories to polyphonic music from the 14th to the 16th centuries. A wide range of scholarly contributions to the debate is considered (Meier, Treitler, Perkins, Strohm, Judd) but the essay focuses in particular on the rather extreme and opposing attitudes of Harold Powers and Christian Berger, the former denying the very reality of a polyphonic modality before the mid to late 16th century, the latter forcing a rigid and, to some extent, artificial conception of modality onto 14th-century compositions which has the indirect consequence of relegating accidental inflexions to mere hexachordal indexing signs. Pleading for a more reasonable position, the article invites a reflection on the 'emergence' of modal characteristics in 14th- to 16th-century polyphony without losing sight of the sonority of the single pieces, and proposes by way of an example the analysis of the very same Machaut ballade used by Berger as an exemplification of his modal theory. My article is an extended version of the introductory chapter to my D.Phil. thesis. Its relevance lies in its provision of a critical summation of what has been said in the last three or four decades on the topic of modality and polyphony. Moreover its publication (in Italian) in an Italian, though internationally relevant, journal, aims at providing Italian scholars and students with information on a topic which is as yet little debated in Italy.
|
Output number: 3 of 3
| Title |
Modal Usage in the Secular Works of Du Fay |
| Output type: |
Journal article |
| Journal title: |
Revue Belge de Musicologie |
| Month/year of publication: |
January 2005 |
| Pagination: |
pp. 5-42 |
| Volume: |
59 |
| ISSN: |
0771-6788 |
| DOI: |
Not supplied ? |