New Chapter: A Blacksmith, Music(a) and Minerva

I’m pleased to announce the publication of a new chapter on music iconography. The chapter, entitled “The Harmonious Blacksmith, Lady Music and Minerva: The Iconography of Secular Song in the Late Middle Ages”, has appeared in print in a collection of essays Music, Myth and Story in Medieval and Early Modern Culture, edited by Katherine Butler and Samantha Bassler. Published by Boydell & Brewer, the production quality is tremendous and the editors have done a marvellous job of assembling fifteen chapters that explore the myriad mythologies (beyond the well-known Orpheus story) that shaped not only musical thought, but also its styles, techniques, and practices from the ninth to seventeenth centuries in Europe. Five colour plates (of a total of ten) accompany my essay and further increase its impact.

Cover of Music, Myth and Story

The following is an abstract of my chapter:

A number of fifteenth-century Italian collections of polyphonic song feature at or near their beginning historiated initials showing a bearded figure beating an anvil with two hammers. In his early seminal article, Paul Beichner argues that late medieval literary and artistic sources often confuse the iconography of Jubal, the biblical inventor of music, and his brother Tubalcain, the inventor of smithing and warfare. Part of the fault seems to lie centuries earlier with Peter Comestor who conflated the biblical tradition with the Hellenistic story of Pythagoras’ discovery of music’s proportions. No matter who the blacksmith was for different medieval authors or artists, the underlying iconography is pervasive, symbolizing the musical arts in the vernacular vein. Authors have been quick to accept that the association of this harmonious blacksmith with Lady Music by fourteenth- and fifteenth-century illuminators and painters requires no further explanation. This chapter proposes that the association of Lady Music and the musical blacksmith draws upon the iconography of Minerva, especially in the manuscript tradition of Giovanni Boccaccio’s De mulieribus claris. Two conclusions are reached. First, a fresh understanding of the place of notated songbooks in late medieval musical culture emerges which situates them as objects of musical skill, artistic commerce and learning. Second, recognition of the pervasiveness of the iconography of Minerva provides the basis of a new reading of Dosso Dossi’s Allegory of Music (c.1522), which features two canons, one by Josquin and another possibly by Willaert.

Abstract by the author.

Unfortunately it is not possible to provide an open-access PDF of the chapter on this blog. For a limited time, however, Boydell & Brewer are offering customers a 25% discount on the usual price of the book (GBP £60/USD $99).

Order online at www.boydellandbrewer.com. Please be sure to quote reference BB125 when prompted (online this will be at the checkout). This offer ends 10 June 2019.


A “virtuous” stacked canon

Here’s my recent blog post over at the “Art of Canon”

Art of Canon

I’m pleased to report on recent attempt to solve a canon found on the title page of a music anthology, Odae suavissimae (1601/1602?). Philipp Schöndorff (sometimes Schöndorpp) (1558–after 1617) dedicated this collection, including two eponymous odes, to his Liégeois compatriot Jacob Chimarrhaeus (1542–1614). Both men were at that date employed at the Imperial court of Rudolf II, Chimarrhaeus as almoner (previously as a singer and very good viol player) and Schöndorff as a chapel singer and trumpeter. Indeed, the Schöndorff had gained employment at Rudolf’s court following Chimarrhaeus’s recommendation in 1590, and the younger man’s esteem for his older co-worker may have stemmed in part from that gesture.

As so often happens these days, musicologist Erika Supria Honisch reached out to colleagues on social media for help to solve the canon that appears towards the top of the ornately engraved title page,  indicated by “CAN 4. VOC”, that is a canon in…

View original post 924 more words

A “New” Concordance for “Pourtant si mon amy”

Art of Canon

In an earlier post I identified a new concordance for Jean Mouton’s stacked canon En venant de Lyon, which lay basically in plain sight in the choir stalls of Lodi Cathedral. This serendipitous discovery came about from the fact that I have been cataloguing the canonic repertoire from the fourteenth to early sixteenth centuries, and had recalled the melodic profile of Mouton’s canon from other sources when viewing the Lodi panel.

Since around 1983, scholarship has known of a double canon Pourtant si mon amy n’a point de monnaye in the manuscript Uppsala, Universitetsbiblioteket, Vokalmusik I Handskrift 76a, fols. 41v-42r, ascribed to the early sixteenth-century composer “Ninot le petit”. Howard Mayer Brown (1983, 1987) and Louise Litterick (2013) both list this chanson as a unicum in the Uppsala chansonnier, that is a piece of notated music lacking any known concordances. Peter Woetmann Christoffersen, who is responsible for…

View original post 420 more words

Mouton sighted at Lodi

I’m currently writing a chapter on the material representation of canons in early sixteenth-century northern Italian art. The number of canons in art  suggests that they played an important role in the musico-visual culture in courts and ecclesiastical institutions of this time. Some better known examples of canons in paintings include the Agnus Dei II of Josquin’s Missa L’homme armé super voces musicales in Dosso Dossi’s Allegory of Music and Ockeghem’s Prenez sur moy in one of the intarsia of Isabelle d’Este’s grotta at the Ducal Palace in Mantua.

Continue reading “Mouton sighted at Lodi”

PhD Scholarship Opportunity in Digital Musicology: The Art and Science of Ludovico Zacconi’s Collections of Canons

We are very pleased to announce that the University of New England is offering a targeted PhD in Digital Musicology for a project on Ludovico Zacconi’s collection of canons. This project will run parallel with our ARC Discovery Project “The Art and Science of Canon in the Music of Early 17th-century Rome,” sharing and contributing […]

via PhD Scholarship Opportunity in Digital Musicology — Art of Canon

An Early Theory Compendium in Australia: Louise Hanson-Dyer Manuscript 244 Published

In November 2017, a series of studies on the late medieval–early modern music theory compendium, Louise Hanson-Dyer MS. 244 (LHD 244) of the Rare Books Collection at the University of Melbourne appeared in the latest issue of Musica Disciplina. (Attendees at the American Musicological Society’s Annual Meeting in Rochester would have had an opportunity to browse a copy at the A-R Editions book stand in the same month.)  I am pleased to note that the table of contents for Musica Disciplina Vol. LX (2015; published 2017) is now available from the American Institute of Musicology’s web site. The yearbook is available for purchase from the publisher A-R Editions here.

An Early Theory Compendium in Australia: Louise Hanson-Dyer Manuscript 244

I. Jason Stoessel, “The Making of Louise Hanson-Dyer Manuscript 244”   67

II. Jan Herlinger, “LHD 244: An Early Layer and What It Tells Us”   93

III. Karen Cook and Carol Williams, “New Light on Frater Nicolaus de Aversa: His Plainchant Treatise in LHD 244”   115

IV. Linda Page Cummins, “The Reception of the Compendium Musicale of Nicolaus de Capua: Paris to Melbourne”   149

V. Denis Collins, “Instructions for Keyboard Accompaniment in Music Manuscript LHD 244 of the University of Melbourne”   173

VI. Jason Stoessel, Jan Herlinger and Linda Page Cummins, “Melbourne, University of Melbourne Library, Special Collections, Rare Music, MS LHD 244: Inventory”   201

VII. Melbourne, University of Melbourne Library, Special Collections, Rare Music, MS LHD 244: Complete Reproduction   211

The five essays, an inventory and facsimile edition mark the culmination of an international collaboration between six musicologists from Australia and the United States of America on LHD 244. Early findings from this project were presented by the authors at a symposium held at the University of Melbourne Library in June 2015.

The same issue contains an unrelated study by Alexander Robinson.