Abstract
This article explores evidence for polyphonic music in Italian convents during the first half of the 16th century. It presents a summary of documentary evidence relating to conventual music in the pre-Tridentine era, alongside practical evidence from contemporary treatises regarding methods by which convent choirs could develop a polyphonic repertory from existing music. It revisits claims for mandatory downwards transposition of music written in high clefs, and considers two manuscripts - Verona, Biblioteca Capitolare, Ms.761 and Brussels Bibliothèque du Conservatoire Royal de Musique, Ms.27766 - in the light of this investigation. The article aims to open up a conversation regarding the status of convent polyphony in the early 16th century, shedding new light on its importance and advocating a fresh approach to the possibility of female performance for the Franco-Flemish repertory of the great papal and ducal chapels.
| Original language | English |
|---|---|
| Pages (from-to) | 195-215 |
| Number of pages | 21 |
| Journal | Early Music |
| Volume | 45 |
| Issue number | 2 |
| Early online date | 12 Jul 2017 |
| DOIs | |
| Publication status | Published - 31 Oct 2017 |
| Externally published | Yes |
Fingerprint
Cite this
}
The performance of polyphony in early 16th-century Italian convents. / Stras, Laurie.
In: Early Music, Vol. 45, No. 2, 31.10.2017, p. 195-215.Research output: Contribution to journal › Article
TY - JOUR
T1 - The performance of polyphony in early 16th-century Italian convents
AU - Stras, Laurie
PY - 2017/10/31
Y1 - 2017/10/31
N2 - This article explores evidence for polyphonic music in Italian convents during the first half of the 16th century. It presents a summary of documentary evidence relating to conventual music in the pre-Tridentine era, alongside practical evidence from contemporary treatises regarding methods by which convent choirs could develop a polyphonic repertory from existing music. It revisits claims for mandatory downwards transposition of music written in high clefs, and considers two manuscripts - Verona, Biblioteca Capitolare, Ms.761 and Brussels Bibliothèque du Conservatoire Royal de Musique, Ms.27766 - in the light of this investigation. The article aims to open up a conversation regarding the status of convent polyphony in the early 16th century, shedding new light on its importance and advocating a fresh approach to the possibility of female performance for the Franco-Flemish repertory of the great papal and ducal chapels.
AB - This article explores evidence for polyphonic music in Italian convents during the first half of the 16th century. It presents a summary of documentary evidence relating to conventual music in the pre-Tridentine era, alongside practical evidence from contemporary treatises regarding methods by which convent choirs could develop a polyphonic repertory from existing music. It revisits claims for mandatory downwards transposition of music written in high clefs, and considers two manuscripts - Verona, Biblioteca Capitolare, Ms.761 and Brussels Bibliothèque du Conservatoire Royal de Musique, Ms.27766 - in the light of this investigation. The article aims to open up a conversation regarding the status of convent polyphony in the early 16th century, shedding new light on its importance and advocating a fresh approach to the possibility of female performance for the Franco-Flemish repertory of the great papal and ducal chapels.
KW - chiavette
KW - convents
KW - Florence
KW - Franco-Flemish
KW - Italy
KW - manuscript
KW - nuns
KW - polyphony
KW - Verona
KW - voci pari
UR - http://www.scopus.com/inward/record.url?scp=85035752136&partnerID=8YFLogxK
U2 - 10.1093/em/cax023
DO - 10.1093/em/cax023
M3 - Article
VL - 45
SP - 195
EP - 215
JO - Early Music
JF - Early Music
SN - 0306-1078
IS - 2
ER -