Last week I travelled to Tokyo, Japan, to present a paper at the quinquennial congress of the International Musicological Society on some of my recent findings on proportional canons from c.1390 to c.1500. This research is part of a larger project that I am conducting with Denis Collins on Canonic Techniques and Musical Change, c. 1330–c.1530. While we have been doing much work last year on the fourteenth-century canon, these are relatively straight-forward examples in which voices imitated each other at the unison after a certain delay between voice entries. The latter is commonly called in technical parlance the interonset interval or IOI. Continue reading “Proportional Canons at Tokyo”
Just in time for your summer or winter reading list–depending on in which hemisphere of the Earth you reside–Routledge has announce that Identity and Locality in Early European Music, 1028-1740, ed. Jason Stoessel, originally published by Ashgate in 2009 has been reissued in an affordable paperback edition. This reissue is part of the Routledge Paperback Direct (RPD) programme and, as such, no changes were made to the hardback edition at all. RPD is the Routledge way of publishing paperback editions of successful hardbacks, available for authors and individual customers to purchase directly from the Routledge website. For further details, see the Routledge order page:
The following is the English text of a general essay recently published in Dutch in the Laus Polyphoniae 2016 festival program booklet. It names several compositions that featured in the festival program. I am posting it here for the benefit of readers less comfortable with the Dutch version. Continue reading “Essay on Death’s influence on the Music of the Fourteenth Century”
My review of Katelijne Schiltz’s Music and Riddle Culture in the Renaissance (OUP) has recently appeared in Music and Letters. Full citation:
Jason Stoessel, “Music and Riddle Culture in the Renaissance. By Katelijne Schiltz (review).” Music and Letters 97, no. 2 (2016): 327-329. doi: 10.1093/ml/gcw030
Oxford University Press has provided free access to the review via this link (HTML) or this link (PDF) for use on my personal research blog. Enjoy my review and I hope that it encourages you to read this book on a fascinating topic.
I was pleased to see that my article on Johannes Ciconia’s lament Con lagreme bagnandome was published in Plainsong and Medieval Music earlier this month. This article arose from some of the research that I have been undertaking as an associate investigator with the Australian Research Council’s Centre for the History of Emotions. I became interested in how Johannes Ciconia was using using musical elements in this song to emphasise certain textual features, and the relationship between this approach and the revived practice of public oratory in Padua. In the meantime, a better (albeit mostly dry and legalist) picture of Ciconia’s contacts with members of the humanist community at Padua has emerged in recent publications and in my own archival research, although this is not a primary focus of this article. Instead, by looking at humanist literature and intertexts with other Italian sources, I outline my case for Ciconia’s participation in an emotional community of musicians and humanists at Padua, as part of a larger project looking at this trend over several decades in this Veneto city.
Last week (7-9 April 2015) I had the opportunity to give a talk entitled
Climbing Mount Ventoux: The Contest/Context of Scholasticism and Humanism in early Fifteenth-Century Paduan Music Theory and Practice
It was delivered at this year’s conference of the Sydney Intellectual History Network, which was entitled “Rethinking Intellectual History”, at the University of Sydney. As part of a session of papers discussing the concept of the Ancient and Modern in thirteenth- and fourteenth-century music theory, I spoke about the contrasting approaches of two authors writing in early fifteenth-century Padua: the composer Johannes Cicionia; and the university professor Prosdocimo de’ Beldomandi.
John Stinson and Jason Stoessel, “Encoding Medieval Music Notation for Research,” Early Music 42, no. 4 (2014): 613–17. doi: 10.1093/em/cau093.
What do medieval music and computers have to do with each other, especially since the only “calculators” in the fourteenth century were clever sophists and theologians from Oxford? Well, it turns out quite a bit. The latest issue of Early Music, guest edited by Dan Tidhar, contains numerous articles on the theme of Early Music and modern technology. Several articles examine how computer-assisted research is revolutionising some of the ways music historians can approach medieval music.