Transmission and origins of Mensural music in thirteenth century Italy before Marchettus de Padua Pomerium

帕多瓦波美里乌姆马尔切图斯之前十三世纪意大利经期音乐的传播和起源

• 批准号: 2097251
• 金额: --
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2097251
• 关键词: Transmission; origins; Mensural; music; thirteenth

The presence of polyphonic music in Italy before the affirmation of the so called Italian Ars nova of the Trecento and the theorisation of the notational system perpetuated by Marchettus de Padua in his Pomerium in arte musicae mensuratae (circa 1320) (Pirrotta 1955, Harlinger 1985) has been commonly circumscribed to the practice of cantus planus binatim, a simple form of two-voice polyphony, which seemed to be widely known within convents, monasteries and cathedrals starting from the thirteenth century towards the Renaissance, in certain case still attested during the eighteenth century, for example, in the franciscan convent of Trento (Dessi 2011). A significant aspect of the importance of such repertoire is represented by the codex Bologna, Civico Museo Bibliografico Musicale Q 11 and a large number of other manuscripts, which share simplified non-mensural versions of the repertoire transmitted by the Las Huelgas manuscript (Ciliberti 1990). However, recent research has shown how interest towards the polyphony of Notre Dame and mensuralism was cultivated in the milieu of aristocratic chapels of cardinals, popes and kings. What is still awaiting answers is whether this interest was bore by retrospective purposes only or the Notre Dame polyphony and mensural music was performed and composed. My research will focus on this and the following topics in order to trace a broad picture of mensural music situation in the Italian peninsula, since its rise until the affirmation of the first generation of Trecento composer present in the manuscripts Vatican City, Biblioteca Apostolica Vaticana, Fondo Rossiano 215, Ostiglia, Biblioteca della Fondazione Opera Pia Greggiati, rari 35 (Rossi codex) and Reggio Emilia, Archivio di Stato, Misc. storico letteraria, Appendice 11 (Mischiati fragment). For this purpose, I will approach the questions from different angles: historical background, archival research, analysis of theoretical works and music manuscripts as well as indirect sources will all be necessary tools for research. On the practical side of the question of practice and original composition, scholars have to face the lack of consistent sources for local production of mensural music. Therefore, it is my purpose, whenever is possible, to reconsider and to formulate new hypothesis on the survival repertoire. One significant case is represented by the early fourteenth century processional offices for the Cathedral of Padua (circa 1300), preserved in two manuscripts: Padua, Biblioteca Capitolare, ms. C. 55, Padua, Biblioteca Capitolare, ms. C. 56. However, as Cuthbert himself admitted, his interpretative transcription of Quis es iste is not satisfactory, showing the evidence that the notation of Padua repertoire, as well as other problematic notational systems of the early Trecento, still need further investigation. Furthermore, Nino Pirrotta has observed stylistic features concerning chromaticism later described by Marchetto in his Lucidarium (circa 1317) (Pirrotta 1955). Thus, a comparative study of sources together with a stylistic analysis of the Paduan processionals would advance our knowledge of mensural notation and Trecento style of the origin. In conclusion, this research will concern different musicological aspects, from the study of historical evidences to the analysis of music and codicological work conducted directly from the sources. I also hope that my contribute would be able not only to advance the knowledge of the scientific community, but also to improve the picture of a Middle Ages far from the negative label that is yet too often in use by a non-academic audience, a Middle Ages characterised by the curiosity towards advancement under every aspect of life, music included, in order to underline the importance of this last one to the creation of a shared European cultural heritage.

复调音乐在意大利的出现，在所谓的意大利新艺术的确认之前，以及帕多瓦的马歇图斯在他的《Pomerium in arte musicae mensurgery》中所延续的记谱系统的理论化之前（约1320年）（Pirrotta 1955，Harlinger 1985）通常被限制在双声部Cantus planus binatim的实践中，这是一种简单的双声部复调形式，这似乎是广泛的修道院，修道院和大教堂从13世纪开始对文艺复兴时期，在某些情况下仍然证明在18世纪，例如，在方济各会修道院的特伦托（德西2011年）。博洛尼亚抄本、Civico Museo Bibliografico Musicale Q 11和大量其他手稿体现了这类曲目重要性的一个重要方面，这些手稿共享了Las Huelgas手稿（Ciliberti 1990）所传递的曲目的简化非定量版本。然而，最近的研究表明，对巴黎圣母院复调和测量主义的兴趣是如何在红衣主教，教皇和国王的贵族教堂的环境中培养的。目前尚待回答的是，这种兴趣是否仅仅是出于回顾的目的，还是巴黎圣母院的复调音乐和定量音乐被演奏和创作。我的研究将集中在这一点和以下主题，以追溯意大利半岛的定量音乐情况的广泛图片，因为它的兴起，直到第一代Trecento作曲家的肯定存在于手稿梵蒂冈城，Biblioteca Apostolica Vaticana，Fondo Rossiano 215，奥斯蒂利亚，Biblioteca della Fondazione Opera Pia Greggiati，rari 35（Rossi codex）and Reggio Emilia，Archivio di Stato，Misc. storico letteraria，pasterdice 11（Mischiati fragment）.为此，笔者将从不同的角度进行探讨：历史背景、档案研究、理论著作和音乐手稿的分析以及间接来源都将是研究的必要工具。在实践和原创问题的实际方面，学者们不得不面对缺乏稳定的音乐来源的问题。因此，只要有可能，我的目的就是重新考虑并制定关于生存技能的新假设。一个重要的例子是代表了早期十四世纪游行办公室的帕多瓦大教堂（约1300年），保存在两个手稿：帕多瓦，Biblioteca Capitolare，女士。55，Padua，Biblioteca Capitolare，Ms. 56.然而，正如库斯伯特自己承认的那样，他对Quis es iste的解释性转录并不令人满意，这表明帕多瓦曲目的记谱法以及早期Trecento的其他有问题的记谱系统仍然需要进一步调查。此外，尼诺·皮罗塔观察到了关于半音主义的风格特征，后来由马尔凯托在他的《Lucidarium》（约1317年）（皮罗塔1955年）中描述。因此，比较研究的来源，加上风格分析的帕多瓦游行将推进我们的知识定量符号和Trecento风格的起源。总之，本研究将涉及不同的音乐学方面，从历史证据的研究，以分析音乐和编纂工作直接从源头进行。我也希望我的贡献不仅能够促进科学界的知识，而且还能改善中世纪的形象，远离非学术观众经常使用的负面标签，中世纪的特点是对生活各个方面的进步的好奇心，包括音乐，为了强调最后一个对创造共同的欧洲文化遗产的重要性。