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Performance score of Francesco Landini's madrigal, " Musica Son - Già Furon - Ciascun Vuol" transcribed from the Squarcialupi Codex (121v-122r). For a video of the score with a performance see the link below. https://www.youtube.com/watch?v=YNcfZSBF9ow
Renaissance and Reformation 45, no. 1, 2022
Music in the Art of Renaissance Italy addresses the prevalence of musical images in the Italian Renaissance, whether in churches, palaces, streetscapes, domestic interiors, or the pages of books and manuscripts. It is one of very few books to provide such an integrated survey of music in Italian Renaissance art, and as such, is a helpful companion for the study of music in the art of this period.
The Record Collector, 2021
I recently translated this article by Giorgio Feliciotti on the great Italian soprano Giannina Arangi Lombardi for the British periodical "The Record Collector" (https://therecordcollector.org/).
Edition of Lorenzo da Firenze's caccia, "A poste messe" with english lyrical text underlay. For a video-score of this edition with a recording see the link below: https://www.youtube.com/watch?v=UN1dFq0jK-U Transcribed from the Biblioteca Medicea-Laurenziana [I-Fl], MS Mediceo Palatino 87, “Codex Squarcialupi”, fol 25v-26r and the Biblioteca Nazionale Centrale, Florence (Firenze), Italy [I-Fn], MS Panciatichiano 26, "Panciatichi", fol. 76v-77r. The form of this piece is canonic with monophonic (?) ritornello. As indicated in the codices, the first part of the piece is clearly a canon for ether two or three voices. The second part, however, gives no sign that it should be performed canonically. Furthermore, there seems to be no reasonable way to render the second half of this piece as a canon without numerous and egregious counterpoint errors. Thus, it is generally accepted that the Ritornello is not a canon like the first part. The second part can be performed monophonically or by many voices in octaves. However, many recordings have taken the liberty to arrange polyphonic parts to fit with the given monophonic line. Most such arrangements borrow material from the monophonic line, parts of which work contrapuntally well together when isolated and extracted arbitrarily.
This paper reflects on various editions of Giuseppe Mazzini's Filosofia della Musica. It was read at the Conference The Renaissance of the Passions organized by the UCLA Center for Medieval & Renaissance Studies - Friday, November 18, 2011
De musica disserenda, Vol. 19 No. 2 (2023): Authentic, Fake or Mistaken Identity? Creation, Recreation, Deception and Forgery in Music , 2023
Through the recent identification of the model for a contrafactum, a composition by Domenico Micheli dedicated to Tarquinia Molza has been discovered. This has turned out to be of earlier date than those dedicated to her by other composers. The incompletely preserved madrigal can be partially reconstructed with the aid of the parts belonging to the contrafactum and opens up new research perspectives on Molza and Micheli as well as on the process of retextualization carried out by Geronimo Cavaglieri, author of the new text.
Studi vivaldiani, 2021
BY VIVALDI (AFTER ALL): THE VIOLIN CONCERTO RV ANH. 131 SUMMARY The core of this article is a plea for the recognition of the violin concerto in F major RV Anh. 131, first admitted to the Vivaldi catalogue in 2007, as an authentic work of the composer – a change of status that, if accepted, would result in its move from the Anhang (Supplement) section of the catalogue into the main part and also make it eligible for publication in the critical edition. The concerto is of special interest for having the appearance of an early work already displaying many of the features expressed in their classic form in L’estro armonico (1711). It appears as the third of six concertos for various instrumental combinations contained in Harmonia Mundi, the Second Collection, an anthology brought out in late 1728 or early 1729 by John Walsh senior and Joseph Hare in London. To set the scene, the article begins by discussing Vivaldi’s significant presence in published concerto anthologies in general. Concerto III in Walsh’s print names Albinoni as the composer, but this is clearly wrong, since its style is palpably non-Albinonian. By good fortune, a thematic catalogue of the concertos once possessed by the Piarist monastery at Podolínec in eastern Slovakia lists the same concerto, this time attributed to Vivaldi. Although this catalogue is full of evident misattributions, it seemed a good idea to score the work up and test the credibility of its attribution. Close analysis of both the structure and the musical style of the concerto quickly leads to a positive conclusion. Each aspect of the work exhibits not only a multitude of features highly characteristic of Vivaldi but also a good many that are seemingly unique, or nearly so, to him and have been widely recognized as such in scholarly literature. The article uses several tables and music examples to support its arguments. Notwithstanding its brevity and a relative lack of technical challenge in the solo part, which could possibly reflect its use for pedagogical purposes at the Ospedale della Pietà, Concerto III can, in the author’s view, be attributed with absolute confidence to Vivaldi. Since the Harmonia Mundi anthology includes another work, the oboe concerto RV 456, that has had its attribution to Vivaldi in that source contested for a while in modern times before being ultimately vindicated, there is scope for future exploration of a possible link between the two compositions.
Journal of the American Musicological Society, 1979
VNU Journal of Science: Legal Studies, 2017
Tạp chí Y Dược học Cần Thơ
DABIR(Digital Archive of Brief Notes & Iran Review), 2024
אתר עיתונות יהודית היסטורית, 2024
FELICIA MARTSHA, 2023
Jean-Marc Doyen (ed) De L’escaut au nil. Bric-à-brac en hommage à Eugène Warmenbol à l’occasion de son 65e anniversaire, pp 321-6., 2022
arXiv (Cornell University), 2015
Alexa Rickert, Sophie Schlosser (ed.), Gestaltung, Funktion und Bedeutung antiker Treppenanlagen. Multiperspektivische Analyse einer transkulturellen Konstante (Kasion 11), 2022
Revista Acadêmica Ciência Animal, 2014
Current Health Sciences Journal, 2019
EnviroScienteae, 2016
Routledge, 2024
Kansenshogaku Zasshi, 2012