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…
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Published by Jason Stoessel
I am a music historian (aka. musicologist) and medievalist at the University of New England, Australia, where I lecture and supervise research on topics in music history from c.800 to present day. My research looks at several topics relating to the music of the from the thirteenth to sixteenth centuries. Music encoding, data longevity and digital humanities is also part of my research. My current research projects include compositional techniques in the music of the Middle Ages and Renaissance, especially canonic techniques (this project is funded by the Australian Research Council, DP150102135); music and emotions in late medieval Padua (with support from the ARC Centre of Excellence for the History of Emotions); several smaller projects on sources of medieval music theory from the 14th and 15th centuries; and the computational analysis of Medieval and Renaissance Music.
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