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.
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.
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.
Last month also saw the publication of an essay on the role of Benedictines in the creation of songbooks in early 15th-century Italy, with three case studies from late medieval Bologna, Florence and Padua. My chapter started life as presentation given at the memorable Sources of Identity Conference convened by Lisa Colton and Tim Shephard at the University of Sheffield in 2013. In its final, more extended version, my study recognises that in addition to composing secular polyphonic songs, several Italian Benedictines (i.e. Benedictines from the Italian peninsula) were instrumental in the collection and preservation of secular songs and related polyphony around the year 1400. (Under Benedictines I include several reformed Italian orders too numerous to name here.) The essay includes further art historical evidence in support of my argument for the completion of the famous Modena A manuscript (Modena, Biblioteca Estense, ms. alpha.M.5.24) manuscript at Bologna in 1410-1411, and the early findings of a computer-assisted approach to music script analysis that supports expanding the role of Paduan Benedictine monk, Rolandus de Casale, in the copying of the so-called Paduan fragments (now in the University Library at Padua, and the Bodleian Library, Oxford) between 1406 and 1409. (Rolandus’s signing of his manuscripts is a curious feature from which I infer another conclusion about the nature of the Paduan fragments.) I also discuss Don Paolo Tenorista da Firenze’s position as a senior ecclesiastic and public figure in Florence, and his possible sponsorship and ownership of several books of Trecento polyphonic song in the first few decades of the 15th century. I intentionally avoid discussing (but list) other known Benedictine composers in any detail, although at Sheffield I spoke at some length on Bartolomeo da Bologna, composer and organist at Ferrara cathedral in the first two decades of the 15th century, and his possible role of in the cultivation of ars subtilior song. I hope to expand on this last topic in a future publication, along with further research into advanced music education in late medieval Italy: questions remain about where those Benedictines mentioned or discussed in my essay received their education, particularly in the craft of polyphony. In the monastery? The cathedral? Or elsewhere?
Stoessel, Jason. 2017. “The Makers and Owners of Early Fifteenth-Century Song Books in Italy: The Benedictine Contribution to the Courtly Musical Culture of the Late Middle Ages.” In Sources of Identity, edited by Lisa Colton and Tim Shephard, 77–96. Turnhout: Brepols. ISBN: 978-2-503-56778-5. Available for purchase from Brepols.
I’m delighted to be part of this collection of essays by a fantastic group of musicologists examining similar themes of music book production, ownership and use in the middle ages and early modern period. My chapter is dedicated to John Stinson who inspired my interest in the music of the ars subtilior more than a quarter century ago.
The Council of Constance (1414–1418) was a significant event for the ecclesiastical, political and culture histories of early 15th-century Europe. It ended the Great Schism of the Western Church (1378–1418) when up to three claimants competed for the papal throne, a situation that fuelled political and dynastic rivalries (and wars) in Western Europe. The Council gathered delegates from all over Europe in the small city on the Bodensee. Cardinals and princes brought their households, including musicians to provide suitable music for liturgical ceremonies and for diversion when the business of the Council concluded each day. Chronicler Ulrich von Richental provided a vivid description of some of this music making of musicians to a pope, several bishops and dukes, although most of it is ceremonial or civic in its nature. Little is known of the cultivation of polyphonic song repertoires around the Council, although internal, and circumstantial evidence indicates that this genre thrived in the courts of religious and secular princes during this period.
This is the background to my recently publication on French-text songs at the Council Constance. In 2014, I was in the fortunate position to be invited to present a paper on this topic along with other colleagues speaking on related topics at a public symposium convened to celebrate the 600th anniversary of the Council. This provided me with an opportunity to address some of the difficult historiographic questions concerning the music of this period, both in terms of his stylistic definitions and political function. A novelties of this research that I hope will be recognised is that I propose that the style that is today called the Ars subtilior be defined by its cultural function, rather than musical characteristics alone, and that the decline of this style represents a loss of functionality, rather than just a change of taste. One of the challenges of this approach is that it invites a tremendous amount of knowledge about the sources which transmitted the music in question: for this reason alone, the number of manuscripts and fragments of music (and scholarship on them) considered in the paper is extensive.
Subsequently, papers from the symposium were reworked for a volume of essays on music culture at the Council of Constance. Details of the chapter are as follows:
Stoessel, Jason. “French-texted Songs at the Council of Constance: Influences, Paths of Transmission, and Trends.” In Europäische Musikkultur im Kontext des Konstanzer Konzils, edited by Stefan Morent, Silke Leopold and Joachim Steinheuer, 205–224. Ostfildern: Jan Thorbecke, 2017.
A copy of this chapter can be downloaded by visiting my page at Academia.edu (login required).
This collection of essays will be/was officially presented to the public in the Stadtarchiv Konstanz (State Archive of Constance) on 18th July 2017 at 7pm.
Earlier this year my essay on fifteenth-century composer Guillaume Faugues was published as the introduction to the fourth and final volume of Rex Eakins’s new edition of The Complete Extant Transmissions of the Masses by Guillaume Faugues (published by The Institute of Mediaeval Music). This essay gave me the opportunity to summarise all previous scholarship on Faugues, and discuss his reception by authors from the late fifteenth century to the present. (There is, however, a substantial hiatus in literature when Faugues’s name was forgotten until the 18th century.)
I take this opportunity to share the text of my introduction (downloadable from this link) in the hope that it might be of interest to enthusiasts of fifteenth-century music.
This paper seeks to establish a prima facie case for a new edition of the repertoire of music from the late fourteenth and early fifteenth century which is today referred to as the music of the ars subtilior. Although most of this body of compositions has been published in monumental editions in the 1970s and 1980s, these editions leave much to be desired both as sources of further scholarly enquiry and also as editions to be used for performance. This paper will detail some of the existing problems of published editions (including misreadings, errors, incomplete realisations) and how they might be avoided in a future edition using new technologies. In particular it will focus on cases within the scribal record of the ars subtilior that embody significant variants, including erasures representing scribal revision and/or scribal alteration of notational process. The emerging paradigms embodied by new technologies offer significant opportunities to move beyond Lachmannian and Bédierian theories of text criticism to principles of editing which preserve multiple local variants and empowers readers with a choice of readings.
In early 2006 I sent a draft piece examining some unusual examples of notation in some polyphonic songs from around 1400 to colleagues Yolanda Plumley and Anne Stone. To my pleasant surprise, Plumley and Stone invited me to contribute to their collection of essays on the famous Chantilly Codex. Most of the chapters in this collection originated at a conference held in mid September 2001 at Tours, France. It was much to my disappointment that I wasn’t able to attend this conference. On the other hand, a three-month sojourn earlier in the year researching in various European libraries had consumed most of my energy, resources and the patience of those I had to leave behind in Australia. Continue reading “Unusual signs and Angevin politics”→
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