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.

在所谓的意大利 Ars nova of the Trecento 得到肯定之前，意大利复调音乐的存在以及 Marchettus de Padua 在他的《Pomerium in arte musicae mensuratae》（大约 1320 年）中对记谱系统的理论化（Pirrotta 1955，Harlinger 1985）通常仅限于 Cantus planus binatim 的练习，这是一种简单的双声部形式从十三世纪到文艺复兴时期，复调音乐似乎在修道院、修道院和大教堂中广为人知，在某些情况下，在十八世纪仍然得到证实，例如在特伦托的方济各修道院（Dessi 2011）。此类曲目重要性的一个重要方面体现在博洛尼亚抄本、Civico Museo Bibliografico Musicale Q 11 和大量其他手稿中，这些手稿共享由 Las Huelgas 手稿传输的曲目的简化非规范版本（Ciliberti 1990） 。然而，最近的研究表明，人们对巴黎圣母院的复调音乐和月经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起来的。仍在等待答案的是，这种兴趣是否只是出于回顾的目的，还是圣母院的复调音乐和月经音乐是被表演和创作的。我的研究将集中在这个和以下主题上，以便追溯意大利半岛经期音乐状况的广阔图景，从它的兴起直到梵蒂冈城、梵蒂冈使徒图书馆手稿中存在的第一代特雷森托作曲家的肯定， Fondo Rossiano 215、Ostiglia、Biblioteca della Fondazione Opera Pia Greggiati、rari 35（罗西抄本）和雷吉奥·艾米利亚 (Reggio Emilia)，Archivio di Stato，杂项。 storico letteraria，附录 11（米斯基亚蒂片段）。为此，我会从不同的角度来探讨这个问题：历史背景、档案研究、理论著作和音乐手稿的分析以及间接资料都将是研究的必要工具。在实践和原创创作问题的实践方面，学者们必须面对缺乏本地创作的经乐的一致来源。因此，只要有可能，我的目的就是重新考虑并提出关于生存手段的新假设。一个重要的案例是 14 世纪初帕多瓦大教堂（约 1300 年）的游行办公室，保存在两份手稿中：帕多瓦，卡皮托拉雷图书馆，女士。 C. 55，帕多瓦，国会图书馆，女士。 C.56. 然而，正如卡斯伯特本人所承认的，他对 Quis es iste 的解释转录并不令人满意，这表明帕多瓦曲目的记谱以及早期 Trecento 的其他有问题的记谱系统仍需要进一步研究。此外，尼诺·皮罗塔 (Nino Pirrotta) 观察到了后来马尔凯托 (Marchetto) 在他的《Lucidarium》（约 1317 年）中描述的有关半音阶的风格特征（Pirrotta 1955）。因此，对来源的比较研究以及对帕多瓦游行的风格分析将增进我们对月经记法和起源的特雷森托风格的了解。总之，这项研究将涉及不同的音乐学方面，从历史证据的研究到直接从来源进行的音乐和编曲学工作的分析。我还希望我的贡献不仅能够增进科学界的知识，而且能够改善中世纪的形象，远离非学术受众经常使用的负面标签，中世纪的特点是对生活各个方面（包括音乐）进步的好奇心，以强调最后一个对创造欧洲共同文化遗产的重要性。