TINCTORIS AND SIGNA CONGRUENTIAE: A NEW PERSPECTIVE

The notational treatises of Johannes Tinctoris are among the most important texts on late fifteenth-century musical practice. His monumental treatise on the art of counterpoint, De arte contrapuncti, affords modern scholars a great insight into the intricacies of counterpoint practice on the cusp of the era of printed music theory. In the examples for this text, Tinctoris regularly uses additional markers to specify the key passages he is discussing. These signs often closely resemble signa congruentiae, though their function in these theoretical contexts is somewhat different from the deployment of such symbols in practical music sources. This article re-examines the historical justification for the term signa congruentiae, offering a new perspective on Tinctoris’s usage of such signs to explicate the rich text–example relationship underpinning his theoretical arguments and drawing attention to some novel uses of these signs that underpin these relationships.

Ad dotandum puellas virgines, pauperes et honestas: Social Needs and Confraternal Charity in Rome in the Fifteenth and Sixteenth Centuries

Renaissance and Reformation ◽

10.33137/rr.v30i2.11488 ◽

2009 ◽

Vol 30 (2) ◽

pp. 5-18 ◽

Author(s):

Anna Esposito

Keyword(s):

Fifteenth Century ◽

Social Needs ◽

The Rich ◽

Late Fifteenth ◽

Insight Into ◽

Rapid Transformation ◽

Selection Of

In the late fifteenth century, Roman confraternities, especially that of SS. Annunziata, provided dowries for poor but "honest" girls. This charitable work was in response to the growing needs of a relatively defenceless segment of a society that was undergoing rapid transformation. This study of the rich holdings of confraternal archives provides insight into the increase in confratemal dowries, into how dowries were administered, into the selection of recipients, all viewed within the broader context of dotal practices in Renaissance Rome.

The Oxford Handbook of Time in Music

10.1093/oxfordhb/9780190947279.001.0001 ◽

2021 ◽

Keyword(s):

Cultural Studies ◽

Music Theory ◽

Musical Work ◽

Musical Practice ◽

Musical Time ◽

Music Making ◽

Nature Of Time ◽

And Performance ◽

Insight Into ◽

Profound Insight

As the art that calls most attention to temporality, music provides us with profound insight into the nature of time, and time equally offers us one of the richest lenses through which to interrogate musical practice and thought. In this volume, musical time, arrayed across a spectrum of genres and performance/compositional contexts is explored from a multiplicity of perspectives. The contributions to the volume all register the centrality of time to our understanding of music and music-making and offer perspectives on time in music, particularly though not exclusively attending to contemporary forms of musical work. In sharing insights drawn from philosophy, music theory, ethnomusicology, psychology of performance and cultural studies, the book articulates a range of understandings on the metrics, politics and socialities woven into musical time.

Moderate Radical

10.1093/oso/9780198804802.001.0001 ◽

2018 ◽

Author(s):

Rosamund Oates

Keyword(s):

Civil War ◽

Civil Wars ◽

Cultural Practices ◽

Great Power ◽

The Rich ◽

Stuart England ◽

To Come ◽

New Perspective ◽

The Church ◽

This book explores Puritanism in Elizabethan and Early Stuart religious politics. Tobie Matthew (c. 1544–1628) was a religious radical at the start of Elizabeth’s reign, yet ended up in a position of great power within the English Church during the tumultuous years leading up to the British Civil Wars. Moderate Radical work provides a new perspective on this period and an insight into the power of conforming Puritanism as a political and cultural force. Matthew’s vision of conformity and godly magistracy brought many Puritans into the Church, but also furnished them with a justification for rebellion when Puritanism was seriously threatened. Through new sources, including Matthew’s annotations of his extensive library and newly discovered sermons, this book explores the guiding principles of Puritanism and explains why the godly promoted the national Church, even when it seemed corrupt. As Archbishop of York, Matthew protected Puritans, but his protection meant there was a rich seam of dissent at the heart of the Church that emerged when the godly found themselves under attack in the 1620s and 1630s. This is a story about the evolution of conforming Puritanism and its significance for the politics of Tudor and Stuart England; it also examines the influence of Puritan cultural practices, in particular the rich culture derived from sermons. This study is also a biography of a leading figure in the Church who struggled to come to terms with his own son’s Catholicism and the disappointments of his family. It provides new insight into tensions of the pre-Civil War Church.

TINCTORIS ON VARIETAS

Early Music History ◽

10.1017/s0261127908000296 ◽

2008 ◽

Vol 27 ◽

pp. 99-136 ◽

Cited By ~ 9

Author(s):

Alexis Luko

Keyword(s):

Language Arts ◽

Fifteenth Century ◽

Music Theory ◽

Civil Law ◽

Arithmetic Geometry ◽

The University ◽

The twelve extant treatises of Johannes Tinctoris offer a wealth of insight into almost every aspect of fifteenth-century music theory. A graduate of the University of Orléans and a doctor of canon and civil law, Tinctoris was an expert in both the language arts of the trivium (grammar, rhetoric, dialectic) and the mathematical arts of the quadrivium (arithmetic, geometry, music, astronomy). Such was his erudition that he was extolled by Johannes Trithemius, one of the leading German humanists of the fifteenth century, as ‘a man very learned in all respects, an outstanding mathematician, a musician of the highest rank, of a keen mind, skilled in eloquence’. Given Tinctoris’s towering intellect, it is no surprise that frequent citations from many of the major thinkers of antiquity – Pythagoras, Plato, Aristotle, Ovid, Virgil, Cicero and Quintilian – appear in his theoretical discussions on mode, mensural notation and counterpoint.

THE PLEA ROLLS OF THE COURT OF COMMON PLEAS: AN UNUSED SOURCE FOR THE ART AND HISTORY OF LATER MEDIEVAL ENGLAND, 1422–1509

The Antiquaries Journal ◽

10.1017/s000358151500044x ◽

2015 ◽

Vol 95 ◽

pp. 157-210 ◽

Author(s):

Elizabeth A Danbury ◽

Kathleen L Scott

Keyword(s):

Fifteenth Century ◽

Art History ◽

Great Emphasis ◽

Royal Court ◽

History Of ◽

Late Fifteenth ◽

Land Inheritance ◽

Insight Into ◽

Contemporary Context

The court of Common Pleas was one of the most important courts in the English legal system for more than 600 years, until its abolition by Act of Parliament in 1873. The cases heard before this royal court were civil disputes between the king’s subjects, often relating to land, inheritance and debts. The purpose of this paper is to introduce readers to the ornament and imagery that appeared on the headings of the main records of the court of Common Pleas between 1422 and 1509 and to explore the origins and contemporary context of the images and representations employed by the clerk-artists who wrote and decorated these headings. The decoration they chose ranged from simple ornament to representations of plants, birds, animals and people. Great emphasis was placed on the role of the sovereign as the fount of justice, and this emphasis was reinforced by the incorporation of words and phrases, acclamations and verses from the Psalms chosen to underline the majesty and power of successive monarchs. The illustrations provide an important insight into the art, history and politics of late fifteenth-century England.

The study of the natural sciences and botanical and zoological illustration in Tuscany under the Medicis from the sixteenth to the eighteenth centuries

Archives of Natural History ◽

10.3366/anh.2001.28.2.179 ◽

2001 ◽

Vol 28 (2) ◽

pp. 179-193 ◽

Cited By ~ 5

Author(s):

LUCIA TONGIORGI TOMASI

Keyword(s):

Fifteenth Century ◽

Natural World ◽

Still Life ◽

Artistic Activity ◽

Scientific Institutions ◽

Microscopic Studies ◽

New Perspective ◽

Set Up ◽

Late Fifteenth ◽

Accademia Del Cimento

A vast body of botanical and zoological illustrations was produced in Tuscany between the sixteenth and the eighteenth century. This artistic activity was made possible by the humanistic-scientific tradition which had been established in Florence during the late fifteenth century, and was further encouraged by the Medici dynasty. The contributions made by three uniquely talented and original artists are discussed. Jacopo Ligozzi produced paintings of plants and animals whose scientific accuracy and artistic quality far surpassed anything achieved by his predecessors. The miniaturist Giovanna Garzoni produced floral paintings for the Medici family. Bartolomeo Bimbi combined the genre of botanical and zoological illustration with that of the still life to create works of striking originality. The crucial role played by the new scientific institutions created during the Renaissance is also discussed. A permanent artists' studio was set up in the mid-sixteenth century at Pisa Botanic Garden. Members of Accademia del Cimento in Florence engaged in pioneering studies with the microscope, a newly invented instrument which gave scientists and artists an entirely new perspective on the natural world. The scientist Francesco Redi carried out important work with the help of the artist Filizio Pizzichi who prepared stunning microscopic studies of insects.

SINGING THE SELF: THE AUTOBIOGRAPHY OF THE FIFTEENTH-CENTURY GERMAN SINGER AND COMPOSER JOHANNES VON SOEST

Early Music History ◽

10.1017/s0261127910000082 ◽

2010 ◽

Vol 29 ◽

pp. 119-159 ◽

Author(s):

Klaus Pietschmann ◽

Steven Rozenski

Keyword(s):

Fifteenth Century ◽

Career Choices ◽

Second World War ◽

The Self ◽

World War ◽

Musical Practice ◽

Personal Insight ◽

Second World ◽

The German singer, composer and writer Johannes von Soest (1448–1506), also referred to as Steinwart or Steinwert, is the author of a vernacular autobiography in verse. One of the very few such documents written by a musician, it gives a highly personal insight into his career, which extended from his training as a chorister in Soest to the ducal chapel in Cleves and afterwards to Bruges (in the company of two unnamed English musicians), Aardenburg (Overijssel), Maastricht, possibly Cologne, Kassel and finally Heidelberg, where he was appointed as Kapellmeister. He subsequently decided to become a physician. The article includes a complete transcription of the text, whose original was destroyed during the Second World War, but has been preserved in Johann Carl von Fichard's rare edition of 1811, and a translation of the sections of musical interest. In an introduction his training and career choices are discussed, and his observations concerning musical practice are analysed.

‘POWDERED WITH ARMES YMAGES AND ANGELS’: AN EARLY TUDOR CONTRACT FOR EMBROIDERED VESTMENTS

The Antiquaries Journal ◽

10.1017/s0003581516000020 ◽

2016 ◽

Vol 96 ◽

pp. 143-167 ◽

Cited By ~ 2

Author(s):

Cynthia Jackson

Keyword(s):

North America ◽

Fifteenth Century ◽

Late Medieval ◽

Production Methods ◽

The People ◽

Private And Public ◽

Late Fifteenth ◽

The Relationship ◽

There are many extant examples of late medieval vestments in private and public collections in Europe and North America. Little is known, however, about the people who created them and the production methods used. A copy of a formal agreement between Sir Robert Clere and William Morton, included in the Townshend family papers, offers a rare insight into the making of a set of late fifteenth-century vestments. The document specifies the materials and the motifs to be used in making the vestments and the delivery deadline. This paper investigates the individuals mentioned in the agreement, the significance of the symbols and images chosen, and the possible motives behind the contract phraseology. Although these particular vestments no longer exist, parallels for the designs and techniques among extant examples have been used to re-create their possible appearance. Also considered is the relationship between embroiderer and mercer and the ways in which they collaborated to produce garments for royalty, the nobility and an increasing number of wealthy citizens.