YEARBOOK OF THE ALAMIRE FOUNDATION

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128 DONNA G. CARDAMONE JACKSON INCIPIT SPEAKER: TEXT TYPE TUNE TYPE * PROCESS/SONG-WRITER INTERLOCUTOR 1. Credo sia meglio ca se risolvimo Leader: Songwriters Framing device Aria Made-to-order 2. Tu hai più anni ca mastro Pasquino ** Young man: Complaint Arioso Group Crone (moralizing) improvisation 3. Non te fidare de santo che magnia Cuckold: Complaint Arioso Group Audience (moralizing) improvisation 4. Basta madonna mia che tu pensavi Cuckold: Complaint Arioso Group Unfaithful woman (moralizing) improvisation 5. Se tu non mi voi ben o faccia penta Martyred suitor: Lament Aria [Cesare Tudino?] Beloved 6. Come t’haggio lassata o vita mia Nobleman-in-exile Lament: proposta Aria da cantare [Don Luigi Dentice?] Noblewoman Range of tune: c1-a1 7. Chi me l’havesse dett’o vita mia Noblewoman: Lament: risposta Aria da cantare [Fabrizio Dentice?] Nobleman-in-exile Range of tune: d1-a1 8. Son morto e moro e pur cerco morire Martyred suitor: Lament Aria [Fabrizio Dentice?] Beloved Range of tune: f1-d2 9. Io piango et ell’ il volto suo mi volta Martyred suitor: Lament: parody of Aria [Fabrizio Dentice?] Beloved commiato from Petrarch’s canzone 27a. 10. Amor pietad’ hormai al mio martire Martyred suitor: Lament: textual Aria [Fabrizio Dentice?] Cupid citations from a Range of tune: madrigal by Naich g1-e2 and a poem by Bembo 11. Meschina me che nova la lancella Deflowered peasant Complaint Arioso [Giovanthomaso Cimello?] girl:Audience 12. Tal par ’l visco che preso l’augiello Cheated peasant: Complaint Arioso [Giovanthomaso Cimello?] Audience 13. Donna crudel tu m’hai robat’il core Martyred suitor: Serenade-lament Aria [Orlando di Lasso?] Beloved
ORLANDO DI LASSO ET AL.: A NEW READING <strong>OF</strong> <strong>THE</strong> ROMAN VILLANELLA BOOK (1555) 14. Canzona mia fame ’no favore Martyred suitor: Serenade-lament Aria [Orlando di Lasso?] Beloved 15. Voria che tu cantass’una canzona Suitor: Serenade Aria [Orlando di Lasso?] Courtesan (gestic) Text incipit is quoted in his canzone, O la, o che bon eccho 16. S’io canto e tu mi spacci per cicala Martyred suitor: Serenade-lament Aria [Orlando di Lasso?] Beloved 17. Ogni villano è ric’et io meschino Desperate peasant: Complaint: Aria [Gian Domenico da Nola?] Audience expansion of ottava by Velardiniello 18. Bona sera como stai core mio bello Pasquarello Serenade-lament Aria [Orlando di Lasso?] (old man): Signora (gestic) 19. Tu traditora m’hai post’a ’sto core Cheated suitor: Lament Arioso [Anon.] Beloved (satirical) 20. Se Dio ti guarde non mi fa morire Martyred suitor: Lament Arioso [Giovanthomaso Cimello?] Beloved 21. La manza mia si chiama saporita Suitor: Dance-song Arioso [Anon.] Peasant woman 22. Latra traitora tu mi fai morire Martyred suitor: Lament Aria [Orlando di Lasso?] Beloved * The term arioso denotes declamatory melodic formulas, little rhythmic contrast, and conjunct motion in which the interval of a third often functions as a pivot in changing direction. Aria denotes tuneful melodic contour, rhythmic contrasts, and a mixture of conjunct and disjunct motion. ** This villanella was not published in the reprint edition of 1558. Two new villanelle were added at this point: Mai vidi donna tanto iocarella and Donna ben posso dir che sei crudele. Table 1. Contents of Villanelle d’Orlando di Lassus e d’altri eccellenti musici libro secondo. Rome, Valerio Dorico, 155530 ; reprint, 155816 . 129
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YEARBOOK OF THE ALAMIRE FOUNDATION
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Yearbook of the Alamire Foundation
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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TRIPLUM (TRANSLATION) Hare hare hye
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TRIPLUM (TRANSLATION) Domine ainz q
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TENOR (TRANSLATION) Domine tant ai
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FROM VARIETY TO REPETITION: THE BIR
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Vir - - - go se - re - - FROM VARIE
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ANEW KIND OF PATRON FROM VARIETY TO
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THE ROLE OF ACOUSTICS IN THE PERFOR
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Figure 4. Plan of the Marienkirche
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POLYPHONY AND WORD-SOUND IN ADRIAN
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Page 76 and 77: 78 LUMINITA FLOREA The Hague, 6 and
Page 78 and 79: 80 LUMINITA FLOREA Regardless of th
Page 80 and 81: 82 LUMINITA FLOREA THE SCRIPTOR IN
Page 82 and 83: 84 LUMINITA FLOREA At any rate, thi
Page 84 and 85: 86 LUMINITA FLOREA normally result
Page 86 and 87: 88 LUMINITA FLOREA instance, on fol
Page 88 and 89: 90 LUMINITA FLOREA planets, and the
Page 90 and 91: 92 LUMINITA FLOREA The pictor of Ca
Page 92 and 93: 94 LUMINITA FLOREA open buds comfor
Page 95 and 96: UT HEC TE FIGURA DOCET: THE TRANSFO
Page 97 and 98: THE TRANSFORMATION OF MUSIC THEORY
Page 109 and 110: CHANGE AND CONTINUITY IN TWENTIETH-
Page 123 and 124: ORLANDO DI LASSO ET AL.: ANEW READI
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Page 131 and 132: (1) Son morto e moro e pur cerco mo
Page 139 and 140: (1) Latra traitora tu mi fai morire
Page 141 and 142: (1) Bona sera como stai core mio be
Page 145 and 146: THE TWO EDITIONS OF LASSO’S SELEC
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Page 158 and 159: 160 RICHARD FREEDMAN Lasso’s chan
Page 160 and 161: 162 RICHARD FREEDMAN prints, but by
Page 162 and 163: 164 RICHARD FREEDMAN It seems likel
Page 164 and 165: 166 RICHARD FREEDMAN II, who ruled
Page 166 and 167: 168 RICHARD FREEDMAN Authorial cont
Page 168 and 169: 170 RICHARD FREEDMAN APPENDIX Docum
Page 170 and 171: 172 RICHARD FREEDMAN Royaume que bo
Page 172 and 173: 174 RICHARD FREEDMAN machen unnd ei
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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182 BERNHOLD SCHMID sei senza parol
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184 BERNHOLD SCHMID Beispiel 1a: Ko
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186 BERNHOLD SCHMID Beispiel 3a: Nu
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188 BERNHOLD SCHMID Beispiel 5: Num
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190 BERNHOLD SCHMID Beispiel 6: Num
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192 BERNHOLD SCHMID Mensur in Numme
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194 BERNHOLD SCHMID Bis Takt 20 sin
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196 BERNHOLD SCHMID Beispiel 9b: Nu
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198 BERNHOLD SCHMID beschriebenen G
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200 BERNHOLD SCHMID Anhang 2: Die Q
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202 BERNHOLD SCHMID 1610-2 RISM 161
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MUSIQUE ET POLITIQUE À FLORENCE DA
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MUSIQUE ET POLITIQUE À FLORENCE Po
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MUSIQUE ET POLITIQUE À FLORENCE N
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Corsini, n° 28 Deh perche si rebel
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MUSIQUE ET POLITIQUE À FLORENCE Ro
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MUSIQUE ET POLITIQUE À FLORENCE So
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MUSIQUE ET POLITIQUE À FLORENCE me
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MUSIQUE ET POLITIQUE À FLORENCE D
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MUSIQUE ET POLITIQUE À FLORENCE Le
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MUSIQUE ET POLITIQUE À FLORENCE da
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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230 SUSAN LEWIS HAMMOND YEAR RISM C
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232 SUSAN LEWIS HAMMOND Figure 2. M
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234 SUSAN LEWIS HAMMOND The title p
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236 SUSAN LEWIS HAMMOND Harmonia ce
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238 SUSAN LEWIS HAMMOND Tra romor d
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240 SUSAN LEWIS HAMMOND of King Chr
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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246 SUSAN LEWIS HAMMOND Harmonia ce
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248 SUSAN LEWIS HAMMOND Symphonia a
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250 SUSAN LEWIS HAMMOND Melodia oly
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252 SUSAN LEWIS HAMMOND 1 The listi
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