Academic literature on the topic 'Motets History and criticism 15th century'

Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the early 14th century, our understanding is dominated by views drawn from lyric poetry, romance, criticism of musical and literary register, traditions of performance, and other abstract conceptualizations of this remarkable moment in the history of music. But there exists an extensive body of musical evidence that points to an energetic and sophisticated experimentation with musical and poetic elements that anticipated the style of polyphonic song cultivated by Machaut and his contemporaries. One such experimental repertory consists of the 22 motets based on vernacular tenors copied into the seventh and eighth fascicles of the Montpellier Codex (F-MOf H 196) and in the Turin motet book (I-Tr vari 42) ca.1300. The vernacular tenors that underpin these motets exhibit the types of repeating structures familiar from secular monody around 1300: six- and eight-line rondeaux and various other types of structure as described by Ludwig, Gennrich, and Walker. What has been less systematically explored is the degree to which the upper voices of the motets reflect the repetitions that characterize their tenors. The composers of these motets were attempting——within the stylistic restraints that the genre imposed on them——to create polyphonic works whose entire texture followed the structure of the tenor: in other words, to construct a musical entity that had much in common with the polyphonic song of the next generation, but that still retained the overlapping phrase patterns and poetic line length of the motet as had been traditional for nearly a century.

AbstractThis is the first part of a series on little known Frisian jurists from the end of the 15th until the beginning of the 17th century who have left printed editions of their works. The present contribution deals with three of them: Haring Sinnema (ca. 1465 – 1513), professor in Cologne and member of the Reichskammergericht, author of a primer on civil and canon law (1491); Boëtius Epo (1529 – 1599), professor at the counter-reformist University of Douai since its erection in 1562, whose works mainly concern canon law; Johannes Basius (ca. 1540 – 1596), agent and adviser of Prince William of Orange, author of Paradoxarum disputationum iuris civilis libri IIII (1575), known for excessive criticism on some wellknown humanist contemporaries.

Abstract The study presents the interpretative history of the poem New Council written by the author Smil Flaška in the 1390s. It argues against accents on its determinative connection with the Czech political history; instead it promotes interpretation based on research of the ways it documents on representations of piety or the social, ethical, or environmental imagination of the late 14th and 15th centuries. Concentrating on the manuscript context (three codices from the latter half of the 15th century) as well as on reception of the poem in the 16th century, the study demonstrates that at the time the poem was transcribed and read, it functioned not as an exclusive lesson for the upper classes or as criticism of the king, but as a long-tried-and-tested edutaining text, accessible to recipients from various social groups. The New Council is a synecdochal representation of the created world, wherein birds and animals compel the reader to relinquish the misleading categories of allegory, irony or satire and submit to the actual subjective effects of God’s word coming from non-human mouths. The recipient is invited to enter the space between man and animal, as the animals’ utterances based on religious teaching lead to a transformation of his conscience and perception.

In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.

The purpose of the article is to study the history of a valuable monument of Ukrainian wooden architecture of the 17th century – the Epiphany of the Lord Church in Stanymyr village in Lviv region, as well as the introduction of a new source into scientific circulation, which allows you to trace the historical development of the church in detail. The research methodology is based on the principles of objectivity, historicism, systematicity, analytical and synthetic criticism of sources. The method of historical reconstruction contributed to the creation of a coherent picture of the history of the Epiphany of the Lord Church in Stanymyr village from disparate facts. The scientific novelty consists in an attempt to systematize the materials related to the history of the church and introduce a new historical source of the 18th century into scientific circulation, which enriches the research base of the monument, as well as the history of the settlement in which it is located. The document proposed for publication can be used for research on church history, architecture, local history, demographic studies, as well as other topics devoted to the history of society in the early modern period. Conclusions. The Epiphany of the Lord Church in Stanymyr is one of the few preserved wooden churches of Opillia, built in the 17th century. The first Christian church in the village probably existed already in the 15th century, but the first documented mention of the church in Stanymyr dates back to the beginning of the 16th century. The modern monument was built in 1689, but it has not come down to us in its original form, which is particularly confirmed by the visitation of the church in 1763. The published document contains a detailed description of the interior of the church (including icons, liturgical utensils, vestments and books) and its surroundings (fence, bell tower, cemetery), as well as immovable property (parson's house and land). The visitation also includes valuable information about the local parish priest, statistics about the parish's population, its toponymy and anthroponymy.

Abstract This essay outlines the history of Alexandrism in the Middle Ages, focusing on the reception of Alexander of Aphrodisias in the late-medieval universities. Alexander of Aphrodisias met with severe criticism in the 13th century from William of Auvergne, Albert the Great and Thomas of Aquinas among others, but in the 14th century this attitude changed completely with John Buridan, giving way to a positive and productive adoption of his theories. The centerpiece of the controversy was Alexander's doctrine that the human soul is similar to the animal soul and hence mortal "like the soul of a dog or a donkey." Previously condemned as the absurd thesis of an outsider - wrongly so, because Alexander was perfectly in line with a long peripatetic tradition beginning with Dikaiarch of Messene and Straton of Lampsakos -, this doctrine was now considered philosophically superior to and sounder than the competing theories of Averroes and the Roman Catholic faith. In connection with this doctrine, Buridan stated that some higher species of animals have the ability to think like a man or an ape (sicut homo vel simia) and that an ape can even be said to have some reason. Buridan's interpretation of Alexander was disseminated at the universities of the 14th and 15th centuries by his many followers, including Lawrence of Lindores, Marsilius of Inghen (who defended Alexander against Albert the Great), Nicholas of Amsterdam, Biagio Pelacani of Parma and Benedikt Hesse of Kraków.

AbstractKarl E.Ryavec’s ‘Manchu Empire or China Historical GIS? Re-mapping the China/Inner Asia Frontier in the Qing Period CHGIS’ (Inner Asia 6.2) makes an important criticism of the 1820 layer released in Version 1 of the China Historical Geographic Information System (Bol & Ge 2002). I recognise this and shall outline what is being done about it. It also questions the value of creating an historical GIS for the history of successive regimes in the general area of the People’s Republic of China. I respond to this by discussing the role of GIS in spatially-enabled historiography rather than as a contribution to historical geography. Finally, and most importantly, it points to the larger issue of how we might best conceptualise, and represent, frontiers and transitional zones between regimes and different forms of sociopolitical organisation. I shall suggest some possibilities for creating an historical GIS under these circumstances. I write as an historian of the middle-period (8th–15th century) in the first place, but inevitably my comments reflect what I have learned through my involvement with the CHGIS project, for which I am the principal investigator in terms of grants, and coeditor of the Versions 1–3 of CHGIS with Ge Jianxiong, Director of the Center for Historical Geography at Fudan University.

ABSTRACT In 1868, Wilhelm Ambros lauded a number of compositions by Johannes Ockeghem, including the triple canon Prenez sur moy. Emphasizing the expressive qualities of this music, he suggested that its composer had breathed into it a ““singing soul.”” Some decades earlier, Johann Forkel also focused on Prenez sur moy, dismissing it, however, as ““unsingable.”” The present study examines the cultural and intellectual forces that gave rise to these strikingly contradictory assessments. Enlightenment historians are generally thought to have charted the flow of history according to a progressive paradigm. Late medieval music often fared poorly viewed from this perspective, drawing criticism for its failure to reflect the refinements of modern music. Initially, Forkel toed this line, but his comments about examples of 15th-century music in the Allgemeine Geschichte der Musik also reveal his capacity to strike a relativist pose regarding some of them, and even to offer unqualified praise. The changes in Forkel's position are traced to philosophical writings known to have been part of his library, and to his conviction that the music of Johann Sebastian Bach was superior to that of his own time. Taking that stand surely must have raised questions in his mind about his earlier commitment to the progressive view of history. Forkel's openness to new historiographical approaches suggests that he, of all Enlightenment writers on music, might have found value in Ockeghem's music, all the more so because he was better informed about Ockeghem's preeminent stature in his own day than anyone else at the time, and owing to his awareness of a current German tradition that regarded Ockeghem as ““the Bach of his day.”” Yet Forkel's deprecation of Ockeghem's music is among the strongest in the literature. His negative stand can be traced to his admiration for a 16th-century tract on teaching music, the Compendium musices by Adrian Petit Coclico, who demonizes Ockeghem as an icon of the scholastic approach to music. Forkel's own commitment to a humanistic orientation in music pedagogy surely led him to view Coclico as a kindred spirit.

Abstract: Prabu Siliwangi is a historical figure, not a fairy tale or a mythical figure, although his figure is loaded with mythical things. Its existence is supported by several sources, both written and oral sources. Besides, the character of Prabu Siliwangi is also supported by social facts and mental facts. Prabu Siliwangi was the ruler who brought glory to the Sunda kingdom, so it is seen as the greatest king in the history of the Sunda kingdom stood. Nevertheless, from the manuscript, Carita Parahiangan (15th century), which contains information of the rulers of the Sunda kingdom, no king of Sunda is named Prabu Siliwangi. Then, who is Prabu Siliwangi? To answer the question, a historical study was conducted by implementing a historical research method that is operationally composed of four phases, namely Heuritsik, criticism, interpretation, and historiography. The results showed that Prabu Siliwangi was a historical figure-Legendary. The people in Tatar Sunda very emotionally remember the people. There are various opinions on the identification of this character. Some argue that this nickname refers only to one character, but some have the opinion of the four figures and more. From the various sources of the manuscript used in this article, the identification of Prabu Siliwangi led to Prabu Sri Baduga Maharaja (1482-1521), the ruler of the Sunda kingdom who is domiciled Pakwan Pajajaran. Abstrak: Prabu Siliwangi adalah seorang tokoh sejarah, bukan dongeng atau tokoh mitos walaupun sosoknya sarat dengan hal-hal yang bersifat mitos. Keberadaannya didukung oleh beberapa sumber, baik sumber tertulis maupun lisan. Selain itu karakter Prabu Siliwangi juga didukung oleh fakta sosial dan fakta mental. Prabu Siliwangi adalah penguasa yang membawa kejayaan kerajaan sunda, sehingga dipandang sebagai raja terbesar dalam sejarah kerajaan sunda berdiri. Namun demikian, dari naskah Carita Parahiangan (abad ke-15) yang memuat informasi tentang para penguasa kerajaan Sunda, tidak ada raja Sunda yang bernama Prabu Siliwangi. Lalu, siapakah Prabu Siliwangi? Untuk menjawab pertanyaan tersebut maka dilakukan studi sejarah dengan menerapkan metode penelitian sejarah yang secara operasional terdiri dari empat tahap yaitu heuritsik, kritik, interpretasi, dan historiografi. Hasil penelitian menunjukkan bahwa Prabu Siliwangi adalah seorang tokoh sejarah-Legendaris. Orang-orang tersebut sangat diingat secara emosional oleh orang-orang di Tatar Sunda. Ada berbagai pendapat tentang identifikasi karakter ini. Ada yang berpendapat bahwa julukan ini hanya mengacu pada satu tokoh, tetapi ada pula yang berpendapat tentang empat tokoh dan banyak lagi. Dari berbagai sumber naskah yang digunakan dalam artikel ini, identifikasi Prabu Siliwangi mengarah pada Prabu Sri Baduga Maharaja (1482-1521), penguasa kerajaan Sunda yang berdomisili di Pakwan Pajajaran. Â

This book is a collection of essays written by a variety of experts on Turkey and social movements and provides a critical analysis of the role of the Gülen Movement (GM)—or Hizmet (“service”), as it is referred to by its adherents—in the coup attempt which was undertaken by one or more factions of the Turkish armed forces in July 2016. Edited and contributed to by M. Hakan Yavuz and Bayram Balci, this work began at a conference in October of 2016, where these experts gathered to discuss the coup itself as well as its implications and ramifications. The chapters in the book all build off of each other to some degree, with earlier chapters covering the history of the GM and the ways in which it has acquired influence both in Turkey and abroad; the coup and structural factors both within Turkish society; and the GM alliance with the Justice and Development Party (AKP) led by Recep Tayyip Erdoğan, the current president of Turkey. Later chapters expand in scope, covering the foreign policy implications of the coup both for Turkey and the United States, where Fethullah Gülen, the eponymous leader of the movement, resides today. Several chapters engage the state of the scholarship on the GM itself, effectively unpacking the ways in which the organization has actively co-opted academia by offering paid trips to Turkey, publishing non-peer-reviewed material, and funding conferences which avoid critical analysis of the GM. In the introduction Balci and Yavuz discuss the history of the Turkish state, giving particular focus to the place of religion under Kemal Atatürk; the pair discusses how the Turkish concept of secularism hews much more closely to the Jacobin tradition than the Anglo-American understanding. This is quite important as the alliance between the AKP and the GM (following Turkish elections in 2002 wherein the AKP swept to power) rested on a shared desire to overthrow the Kemalist conception of secularism, which seeks to dominate religion and prevent its expression in the public sphere. The book’s first chapter, written by Yavuz, charts the GM’s development over time, enumerating three key stages in its history. The first was that of a loosely bound religious network, encouraged by their leader to do good works; the second marked the expansion of the GM both within and outside of Turkey as an education-providing and media powerhouse; the third saw the GM create a parallel state structure in Turkey, which was mobilized to further increase the movement’s power throughout the 2000s and this current decade, most famously during the coup itself, though a variety of other incidents are discussed here and throughout the book. The next chapter details the coup itself, giving background which is necessary to understand the rest of the work and underlining four key junctures which put Turkey on the path to the July 15th event. The chapter’s author, Mujeeb R. Khan, notes that the structure of Turkish institutions (particularly its version of secularism), the continued domination of the Turkish deep state following the introduction of multi-party elections several decades ago, the neo-liberal opening Turkey experienced in the 1980s, and the rise of the AKP in the early 2000s all played integral roles in the rise of the GM and, eventually, the coup. Yavuz collaborated with Rasim Koç to write the third chapter, which examines the relationship between the GM and Erdoğan’s AKP (beginning with the unspoken alliance between the two which started after AKP’s 2002 electoral victory and whose disintegration led to the coup) as well as foreign policy consequences it had for Turkey. Chapters 4 and 5, written by Michael A. Reynolds and Kiliç Kanat, examine the coup, including the factors and events which led to both its occurrence and its failure. Kanat’s examination of why the coup failed is particularly interesting; he compares and contrasts the failure with previous successful coups which occurred in Turkey during the mid- to late-twentieth century. The next chapter, written by Caroline Tee, returns specifically to the topic of the AKP-GM relationship, digging deeply into the events which caused what on the surface seemed like a natural alliance to fracture and, during 2016, turn upon itself. Sabine Dreher’s chapter follows Tee’s, and is one of the most theoretical in the book, as it places the GM in the contexts of neoliberal and globalist theory, and notes internal contradictions within the movement itself. She considers how the global goals of the organization—the eradication of ignorance through educational work, the alleviation of poverty through private enterprise run by movement members, and the hosting of intercultural and interfaith dialogue— stand at odds with the nationalist project of the GM in Turkey, where movement members attempted to seize control of the state they had been infiltrating for some time as opposed to working outside of it. Balci wrote the eighth chapter, which deals with the GM movement’s presence in former Soviet satellites, namely Georgia, Azerbaijan, Uzbekistan, Turkmenistan, Kazakhstan, Kyrgyzstan, and Tajikistan. Following the coup attempt in 2016, the Turkish government pressured all of these states to shut down any GM movement activities within their countries, which was difficult as the GM provided excellent education to the children of elites in these nations. He then charts the differing reactions of the states mentioned above. The ninth chapter, by David Tittensor, turns to the structure of the GM and how secrecy and hierarchy play crucial roles in it, a reality which is often denied by the majority of scholarship—though he and other contributors to the work might dispute the use of the term “scholarship”, or at least qualify it. He does end his chapter with a criticism of the theory that GM members were key leaders of the coup, a conclusion which is at odds with that of most other contributors to the volume. The tenth chapter, by Yavuz Çobanoĝlu, provides insight into the role of women in the GM, criticizing some of Gülen’s writings and detailing the experiences of female students living in GM dormitories in Turkey, an experience that many of the women surveyed found to be repressive. Kristina Dohrn’s contribution outlines the activities and role of the GM movement in Tanzania, which, similar to Balci’s chapter, deals with repercussions of the coup and examines potential paths forward for the GM outside of Turkey. The work’s final chapter, written by Joshua Hendrick, is about how the GM presented itself as a “good” Islam in the wake of the 9/11 attacks, during a period in which the West writ large was searching for a “modern” version of the religion which it could champion in opposition to extremism. He effectively critiques the idea that religion itself can be good or bad, and rightly puts the onus on the actors themselves. The book ends with a postscript which examines the four major theories about how the coup may have come to pass, and comes to the conclusion that GM members were central and sole actors in the coup, which was in all likelihood approved by Gülen himself. This work does an excellent job of unpacking the GM and its various religious and political facets, even for the relatively uninitiated reader, and pushes back strongly against what it identifies as the prevailing anti-Erdoĝan Western narratives about the coup, which try to shift blame away from the GM and onto the shoulders of other actors, including the AKP leader. Particularly interesting is the book’s criticism of GM-sponsored scholarship, which is cited as one of the primary ways in which the GM has ingratiated itself worldwide, as it frames the group as “good” Islam. The work refrains from being speculative but does examine possible futures for the GM, mostly outside of Turkey, as the country’s government has gone to extreme lengths to uproot the movement in its homeland—lengths that the authors do rightly criticize as going too far, if somewhat tepidly at times. The US-Turkey relationship as it relates to the GM issue, specifically hisresidence in the US, is also examined in some depth and leads a student of either Islam in the US or the country’s politics to wonder if the GM has successfully insinuated itself into any institutions here, as it has done in Turkey. The author of this review once believed that Erdoĝan may have permitted or even been behind the coup attempt as a vehicle to consolidate power, but the evidence and arguments presented by the authors of this work have swayed his point of view; the GM was almost certainly responsible for the coup attempt, and it seems likely that Gülen himself gave his blessing to the members of his movement who carried it out. Grant MarthinsenMA, Center for Contemporary Arab StudiesGeorgetown University

This study is the first step toward a better understanding of the introduction of pervasive imitation at the end of the fifteenth century. The focus is on selected works of Loyset Compère: the ténor motet Omnium bonorum plena, two motetti missales cycles and twenty chansons. Four types of repetition have been identified in these works: imitation, free repetition, repeated modules and doubling. The main analysis is based on the statistical frequency of the different types of repetition. Percentage tables allow us to observe stylistic changes between early and late chansons and also underline some resemblances between late chansons and motetti missales. Different types of repetition tend to vary in length; imitation generally uses longer melodic lines than other types of repetition. I also studied pitch intervals of repetition used by Compère. I have noticed that unlike some composers of the time, Compère used pitch intervais other than the octave and unison, mainly the fifth and principally in his late chansons. Finally, I have constructed a System of modular classification which allowed me to identify unifying devices used by Compère in his motetti missales. The results presented in this thesis suggest that Loyset Compère was a major contributor to the evolution of pervasive imitation.

Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.

The Laborde Chansonnier (Wash.L.C. 2.1 L25 Case) is one of the most important but least studied of the Franco-Burgundian chansonniers of the fifteenth century. It contains 106 chansons, 22 of which are unica.
Fallows, Brown, Montagna, Kenney, Perkins and others have discussed the transformation of the style of the chanson over the course of the 15th century. Little has been written specifically on the period of the Laborde chansonnier. With reference to musical features such as melodic style, imitation, cadences, metrical structure, role of the contratenor, and range of note values, I discuss the style of the chansons, first in general, and then layer by layer, charting the changes in a crucial period. Although these changes are gradual, it is possible to follow the development of the chanson during the period between 1450 and the beginning of the sixteenth century.
The Laborde Chansonnier contains twenty-five unica, of which four have appeared in modern editions, and one of which is incomplete. I have transcribed the other twenty and also four other chansons which I could not find in modern editions. (Abstract shortened by UMI.)

This thesis investigates early sixteenth-century motet settings of texts taken from the Song of Songs. By way of contextualization, I will explore the Christian history of Song of Songs exegesis from the third century to the twelfth. I will also consider generic properties of the renaissance motet---contemporary definitions of the genre, performance context, types of texts used, and repertory dissemination---and make a case that both the Song of Songs and the motet occupy a sort of "intermediate" position between the secular and the sacred world, participating in both the earthly and the spiritual.
Several motets---Tota pulchra es by Ludwig Senfl, Tota pulchra es by Nicolaus Craen, Nigra sum sed formosa by Johannis Lheritier, and the anonymous Vulnerasti cor meum from Petrucci's Motetti de la Corona I print---will be analyzed through the lens of the historical Christian exegesis and generic considerations of the motet. I interpret diverse musical parameters---among them, texture, quotation of pre-existent material, motivic structuring, cadential manipulation, mode and modal commixture---as some of the ways in which the composers responded to their Song of Songs texts.

In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

Revised Thesis (doctoral)--University of Oxford, 2004.
Foreign cultural models at the English royal court -- International events and musical exchanges -- Building a foreign musical establishment at the early Tudor court -- Anglo-continental relations in music manuscripts -- English music theory and the international traditions. Includes bibliographical references (p. [297]-315) and index.

The regions of James II, III, and IV in the second half of the fifteenth century in Scotland saw a distinctive flowering of advice to princes literature. This is the first account of its kind to examine in detail the sources, arguments, and extent of political comment of each individual work. In particular it employs both literary and historical sources to reveal the largely unrecognized impact of continental, especially French, political thought, on a number of writers. The study opens with a consideration of the poem De Regimine Principum, a politically very forthright advice work, influential for a century or so after its composition. Chapter 2 deals with the writings of Sir Gilbert Hay, whose work shows clear influences from the continent, particularly in the Buik of King Alexander, which is also seen to have interesting links with De Regimine Principum. Chapter 3 discusses the romance Lancelot of the Laik, a poem less precise in its allusions, but clearly indicative of a number of recurrent preoccupations in Scottish advisory literature in the areas of justice and kingly minorities. The two following chapters examine The Talis of the Fyve Bestes, which gives a markedly nationalistic evocation of good kingship, and The Buke of the Chess, where Scottish advice to princes is seen at its least politically aware. In Chapter 6 advice appears in yet another genre, the devotional poem The Contemplacioun of Synnaris, where the wider associations of `kingship' with the nosce te ipsum tradition are apparent. Chapters 7 and 8 concern The Thre Prestis of Peblis and John Ireland's Meroure of Wyssdome, possibly produced around the same time, but presenting their advice in very different manners: the Thre Prestis adroitly worked and entertaining, the Meroure, highly theological and drawing strongly on continental writers, notably the sermons of Jean Gerson. In conclusion it is shown that through this context we can best appreciate the purpose and formidable execution of Robert Henryson's advice to princes fable lq The Lion and the Mouse.

Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers.