Polifoniczne opracowania wersetów z Pieśni nad Pieśniami w czasach Johna Dunstaple’a i Leonela Powera
Polyphonic Settings of Song of Songs Texts in John Dunstaple’s and Leonel Power’s Times
Languages of publication
Marian texts were very popular in England in the fourteenth and the first half of the fifteenth century. This English interest in Marian texts is a reflection of a great adoration and devotion to the Virgin in England and the Roman tradition, and can be traced back to the twelfth and thirteenth century when Marian doctrine gained an increasing popularity. It can be even traced back to the ninth century when the earliest known antiphonary saw the light of day. Among all the antiphons, the most prominent were these based on the Song of Songs. Polyphonic settings of the Song texts, which originated in England in the mid-fourteenth century, belong to the category of the polyphonic votive antiphon. Such works can be found in Dunstaple’s and Power’s output, two the most important and famous English composers of that time. Of all their works, Dunstaple’s motet Quam pulchra es appears to be the most popular and well-known, and is considered to be the excellent example of the so-called English style, la contenance angloise. The goal of this paper is to show that in addition to these two composers, there were many others who also set the texts from the Song of Songs and contributed a lot to the development of the English music at that time, and had an influence on the composers from the continent.
- BENT M., Dunstaple, London 1981.
- BENT M. i I., Dufay, Dunstable, Plummer — A New Source, „The Journal of the American Musicological Society” 22 (1969), s. 394–424.
- BUKOFZER M., John Dunstable and the Music of His Time, „Proceedings of the Musical Association” 65 (1938–1939), s. 26–27.
- BUKOFZER M., Fauxbourdon Revisited, „Musical Quarterly” 38 (1952), s. 22–47.
- BURSTYN S., Fifteenth-Century Polyphonic Settings of Verses from the Song of Songs, niepublikowana dysertacja, Columbia University 1972.
- BURSTYN S., Early 15th-Century Polyphonic Settings of Song of Songs Antiphons, „Acta musicologica” 49 (1977), s. 200–227.
- CLAYTON M., The Cult of the Virgin Mary in Anglo-Saxon England, Cambridge 2003.
- JOHN DUSTABLE, Complete Works (Musica Britannica 8), M. BUKOFZER (red.), poprawione wydanie M. BENT, I. BENT, B. TROWELL, Londyn 1970.
- FALLOWS D., Dunstable, Bedyngham and O rosa bella, „Journal of Musicology” 12 (1994), s. 287–305.
- FULTON R., Mimetic Devotion, Marian Exegesis, and the Historical Sense of the Song of Songs, „Viator: Medieval and Renaissance Studies” 27 (1996), s. 85–116.
- FULTON R., Quae est ista quae ascendit sicut aurora consurgens?: The Song of Songs as the Historia for the Office of the Assumption, „Medieval Studies” 60 (1998), s. 55–122.
- LEFFERTS P.M., Cantilena and Antiphon: Music for Marian Services in Late Medieval England, „Current musicology” 45/47 (1990), s. 247–282.
- MATTER E.A., The Voice of My Beloved: The Song of Songs in Western Medieval Christianity, Filadelfia 1990.
- The Montpellier Codex, H. TISCHLER (red.), t. I–IV, (Recent Researches in the Music of the Middle Ages i Early Renaissance 8), Madison 1985, t. IV, w: E.H. SANDERS (red.), English Music of the Thirteenth and Early Fourteenth Centuries, Paryż 1979.
- New Catholic Encyclopedia, Waszyngton 20032.
- The Old Hall Manuscript (Corpus Mensurabilis Musicae 46), A. HUGHES, M. BENT (red.), American Institute of Musicology 1969–1973.
- POWER L., Complete Works (Corpus Mensurabilis Musicae 50), CH. HAMM (red.), American Institute of Musicology 1969.
- ROTHENBERG D., The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music, Oxford – New York 2011.
- TROWELL B., Stone, w: The New Grove Dictionary of Music and Musicians, S. SADIE (red.), t. XXIV, Londyn 20012.
- WARNER M., Alone of All Her Sex: The Myth and the Cult of the Virgin Mary, New York 1983.
Publication order reference