Instruments, Ensembles, and Repertory, 1300-1600: Essays in Honour of Keith Polk

Description

Over the past 45 years, Keith Polk has been one of the major scholars in the history of musical instruments and their repertories during the period 1300 - 1600. His publications have been extremely helpful in elucidating the development of the instruments, the repertory they performed, and the role played by instruments and instrumentalists in late medieval and Renaissance society. This collection of twelve essays on medieval and Renaissance music performance topics adds to the areas in which Keith Polk has made significant contributions, namely instruments, ensembles, and repertory. The scope of the individual essays varies in terms of geographical and temporal focus, with some involving an issue that was common to all areas of Europe, while others are specifically aimed at a single instrument, ensemble, composition, country, city, or occasion. Most of the essays are historical in nature, centring on how music was performed in particular circumstances, although some are quite practical and explain performance techniques involving voices and instruments. What unites the twelve essays is that they all shed new light on musical performance in Europe during the late Middle Ages and Renaissance. The writers chosen for this volume are all highly respected scholars whose writings are always of the highest calibre. Taken as a whole, the essays in this volume make an excellent contribution to the field of music history. Front Matter ("Title Page", "Copyright Page", "Table of Contents", "Illustrations", "About the Honouree", "Keith Polk: Publications"), p. i Free Access Introduction, p. 1 Timothy J. McGee, Stewart Carter https://doi.org/10.1484/M.BCEEC-EB.1.100632 A Tale of Bells and Bows: Stalking the U-Slide Trumpet, p. 13 Stewart Carter https://doi.org/10.1484/M.BCEEC-EB.1.100633 The Medieval Fiddle: Tuning, Technique, and Repertory, p. 31 Timothy J. McGee https://doi.org/10.1484/M.BCEEC-EB.1.100634 Lute Ladies and Old Men in Early Sixteenth-Century Flemish Paintings: Mirrors, Magdalenes, Mottoes, Moralities, Vanities, Allegories, p. 57 H. Colin Slim https://doi.org/10.1484/M.BCEEC-EB.1.100635 Organs and Instrumental Performance at the Collegiate Church of Saint-Omer, Northern France, in the Later Middle Ages, p. 101 Andrew Kirkman https://doi.org/10.1484/M.BCEEC-EB.1.100636 Renaissance Piety and Ceremony: Antwerp’s Speellieden at Work, p. 113 Kristine K. Forney https://doi.org/10.1484/M.BCEEC-EB.1.100637 Music in Late Medieval Tours and Orléans: A Reflection of Political Allegiance in the Loire Valley, p. 153 Gretchen Peters https://doi.org/10.1484/M.BCEEC-EB.1.100638 Reverse Engineering Fifteenth‑Century Counterpoint: Es solt ein man kein mole farn and Cançon de pifari dco. el Ferrarese, p. 173 Adam Gilbert https://doi.org/10.1484/M.BCEEC-EB.1.100639 Ensemble Improvisation in the Fifteenth‑Century Mensural Dance Repertoire, p. 195 Ross W. Duffin https://doi.org/10.1484/M.BCEEC-EB.1.100640 Reclaiming the Past: Archbishop Antonio Altoviti’s Entrance into Florence in 1567, p. 237 Frank A. D’Accone https://doi.org/10.1484/M.BCEEC-EB.1.100641 Out of the Shadows: The Double Canon En l’ombre d’ung buissonnet, p. 263 Louise Litterick https://doi.org/10.1484/M.BCEEC-EB.1.100642 A Hidden Arrangement of Gentil madonna, p. 299 David Fallows https://doi.org/10.1484/M.BCEEC-EB.1.100643 Singing Josquin’s Miserere in Ferrara: A Lesson in Ficta from Bidon?, p. 309 Joshua Rifkin https://doi.org/10.1484/M.BCEEC-EB.1.100644 Back Matter ("Index", "Titles in Series"), p. 331