'Your Muse Remains Forever': memory and monumentality in Elizabethan manuscript partbooks
'Your Muse Remains Forever': memory and monumentality in Elizabethan manuscript partbooks
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“你的缪斯永远存在”：伊丽莎白时代手稿分册中的记忆和纪念性
作者：
Gibbs D
以天主教为主题的圣歌和经文歌在君士坦丁堡音乐收藏中的存在长期以来一直是兴趣和史学争论的来源。旧的理论认为，包括这些作品揭示了早期现代收藏家的天主教信仰，但最近的历史研究已经削弱了这一点，现在更经常被视为他们所受教育和挑剔的音乐品味的证据。本文认为，这部音乐作品最重要的共同特点不是它的天主教起源，而是其作曲家（几乎总是）既英国又已经去世的地位。通过询问已故的埃克塞特和早期的埃克塞特话语周围的英国过去，以及过去的调查和证据的方式，特别是丧葬纪念碑和其他物质文化的研究，我发现，都铎抄写员明确援引比喻的记忆和纪念当代和早期音乐的副本，将他们的收藏品与更广泛的概念发展民族认同。在这样做的过程中，他们改变了他们的收藏的重点，允许有问题的拉丁经文经文在主流新教思想中获得新的含义。
The presence within Elizabethan music collections of antiphons and motets with explicitly Catholic themes has long been a source of interest and historiographical argument. The old theory that the inclusion of such pieces reveals covert Catholic beliefs among early modern collectors has been undermined by recent historical research, and it is now more frequently taken as evidence of their education and discerning musical taste. This article argues that the most important shared characteristic of this musical corpus is not its Catholic origins, but the status of its composers as (nearly always) both British and already dead. By interrogating late Elizabethan and early Jacobean discourse surrounding the British past, and the ways that the past was investigated and evidenced—particularly the study of funerary monuments and other material culture—I reveal that Tudor copyists explicitly invoked tropes of memory and memorialization in their copies of contemporary and earlier music, which link their collections to broader notions of developing national identity. In so doing, they shifted the emphasis of their collections, allowing problematic Latin motet texts to acquire new meaning within mainstream Protestant thought.