Gender
Male
About
Location
La Haye
Birthday:
February 26
Intérêt principal (principal interest)
Ars nova
Présentation: travaux et (ou) intérêts (Presentation: works and (or) interests)
I'm a singer and a PhD student at the Orpheus Institute, Ghent, which has a doctoral research programme for musicians. The subject of my research is different techniques of oral (not to say "improvised") polyphony that where applied to chant, know amongst others as contrapunctus, cantus super librum and discantus. My research centres around the application of information found in sources into singing, and a reflection on how such skills can be best acquired.
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"Would be ideal for something on Torino J.ii.9 or other geographically "liminal" repertoires."
"Yes, I actually think this piece is quite close to what is described by Petrus dictus palma ociosa. I refer there to the principle of "adjacent consonances" ("species vicinori") which is explained in a number of 13th, 14th and 15th century treatises…"
"Thank you Oliver! We may at some point perform the whole mass. My starting point was that - even if the Franconian sections - are in a 13th century idiom, they might have been updated to reflect a more 14th century taste, hense all the ficta."
"Thanks for satisfying the curiosity of yours truly :)"
"They do make a nice cross shape indeed. Could be interesting to check these other sources, to see if - conceivably - there are missing parts."
"Maybe the voice I labeled 'tenor', which is also the one from Prague, circulated as a monophic piece? (Or did I miss that you also found the other voice in AH?)"
"Perhaps Ulrike Hasche-Burger could say a bit more about this, but this type of 'semi-mensural' repetoire from the Low Countries is very conservative, in other words it might be 15th century as well. From the counterpoint I find it hard to tell."
"Last version of my transcription: https://dl.dropboxusercontent.com/u/25848931/Puer%20Natus02.pdf
It's a nice little piece!"
It's a nice little piece!"
"Brussels Ms. II 270, fol. 137v-138r ("Handschrift Koning"). A similar kind of notation with minims and puncta instead of semibreves and breves."
"Perhaps this could be another solution for b. 15-17. I'm not sure, as it means interpreting one of these virga as a minim and the other not."
"[Update] OK. If we assume this is homorhythmic (at least that syllables fall on the same place) this should be the result approximately.
To me it looks rather fifteenth century, especially if I'm right about that dot in b. 16, what do you all think?…"
To me it looks rather fifteenth century, especially if I'm right about that dot in b. 16, what do you all think?…"
"For a comparison, see for instance this piece from the so-called "Handschrift Tongeren" (ca 1480)"
"This kind of mixed notation very often appears in sources of the Devotio Moderna.
It looks like a typical devotional song in triple time (double dots are equivalent to imperfect breves).
Is anyone attemption a transcription?"
It looks like a typical devotional song in triple time (double dots are equivalent to imperfect breves).
Is anyone attemption a transcription?"
"Christoph, thanks for sharing your ideas. Unfortunately I have to disagree with the tenor of your post. Firstly you posit a lot of "has and need to's" for performers of medieval repertoires. On a very basic level musicians don't need to do any of…"
"I think in this source the main issue is what to count as an upbeat, and (by consequence) which longa should "have" a point. For instance the "a solis ortus", I would be tempted to start that with an upbeat, but treat the first longa (A) as a…"
"Très intéressant! Il y a quelques ambiguïtés dans cette notation, mais il me semble que c'est tout en mesure binaire. "
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