Table Of ContentUno gentile et subtile ingenio
Studies in Renaissance Music
in Honour of Bonnie J. Blackburn
Photograph by David Fisher
Uno gentile et
subtile ingenio
Studies in
Renaissance Music
in Honour of
Bonnie J. Blackburn
Edited by
M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens
Centre d’Études Supérieures de la Renaissance
BREPOLS
Collection « Épitome musical »
Centre d 'Études Supérieures de la Renaissance
Collection « Epitome musical »
dirigée par : Marie-Alexis Colin et Philippe Yendrix
Conception graphique et mise en page: D/2009/0095/99
Michaël Correia et Vincent Besson isbn 978-2-503-53163-2
All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher.
Preface
‘Uno gentile et subtile ingenio ’ is a perfect description for Bonnie in words that
we have appropriated from a Renaissance music theorist she knows full well: they
stand in Giovanni Spataro’s letter of 30 October 1527 to Giovanni del Lago. This
phrase successfully encapsulates the best in the person and the scholar, the penetrating
intelligence and sensitive humanity that delight in the progress of knowledge. To
meet Bonnie is to value her, even though she does very little to make herself noticed.
She is unaffected and unobtrusive, but at the same time understands life and is
friendly with everyone. A great gift needed to be found for her, rich in personal ac
knowledgements and valuable for the discipline to which Bonnie devotes so much
energy every day of her life. Gioia had been thinking of this for several years, until
the gentile et subtile ingenio began to take shape in the refined profile of Leonardo da
Vinci’s Scapiliata...
The first contact between Gioia and Bonnie was a fax, sent from the Dipartimento di
Musica e Spettacolo of the University of Bologna, and asking for some information
about the research that Gioia was going to embark on. Bonnie’s kindly reply remained
in Gioia’s mind till they first met at the beginning of 1999 in Oxford, where Gioia
went for a year during her dottorato di ricerca. Bonnie was officially appointed super
visor of Gioia’s dissertation, and the human and professional connection that ensued
became an essential part of Gioia’s emotional sphere. In fact, Bonnie became one of
Gioia’s most important points of reference: it is difficult to say whether her esteem or
affection for Bonnie is the greater. To Gioia, she seems best characterized by her
incomparable generosity, accompanied by her very subtle delicacy of spirit, which
always warms the heart of whoever approaches her. But Gioia has always also loved
Bonnie’s smiling irony, so sharp and clever, which relieves the pressure so often ac
companying research, and produces a real personal solidarity. The whole of Gioia’s
most important professional production, her critical edition of the early sixteenth-
century musical manuscript Panciatichi 27, was translated into English by Bonnie;
the book owes a great deal of its scientific merit to her constant support, and to all her
innumerable suggestions over so many years. This professional and personal connec
tion was made easier by email. The often headlong rate of these exchanges led Bonnie
to utter one of the most memorable sentences that Gioia can remember: it was 31
December 2007, a few hours before midnight, and Gioia was asking more and more
Preface
questions on the edition of Panciatichi 27. After any number of replies, Bonnie added
as a marginal note: “Gioia, you are going like a house on fire!” Clearly, it was time to
stop disturbing her (for the day...).
Leofranc and Bonnie first met by transatlantic mail in 1988, when he was given the
Correspondence of Renaissance Musicians to copy-edit on account of his reading compe
tence in Cinquecento Italian. Because at the time he had supervisory duties as well as
his own work to do, the process was long drawn out; Bonnie became intrigued by his
varied knowledge and arranged to meet him on a visit to England in April 1989. After
that, events moved swiftly, and they became married on 6 January 1990. Since then
Leofranc, besides enjoying fine cookery and Bonnie’s constant help and companionship,
has been drawn ever deeper into the world of medieval and Renaissance musicology.
Bonnie has been an inspiring presence for Jenny from the outset of her interest in
the history of music. As an undergraduate at the University of Illinois she audited
Herbert Kellman’s graduate seminar on Josquin, where she was first introduced to
Bonnie’s name and work. The impression this made on Jenny was profound—she’d
never encountered a woman actively contributing to the field before, in person or in
print! As a trepidatious graduate student and anxious new assistant professor attending
her first AMS meetings, Jenny quietly followed Bonnie around, learning through ob
servation how best to present and defend one’s ideas in what was then still a very male
dominated arena. Without knowing it, Bonnie became a most powerful teacher and
role model in Jenny’s life even before they met; the long-awaited opportunity for mean
ingful personal interaction came in July 1999, when Jenny moved with her family to
Oxford as director of the Williams-in-Oxford Programme. Her first Michaelmas goose
dinner party that year remains one of her most cherished memories of time spent in
Bonnie and Leofranc’s excellent company. Bonnie’s generosity and support—both pro
fessional and personal—in the years since then have been precious beyond measure.
The project for this Festschrift crystallized in 2003. Gioia had been thinking of it
for some time, but was well aware that an undertaking of this kind could not be
realized without help. When she was in the States, Gioia discussed the idea with
Herbert Kellman; he gave his whole-hearted approval, and added that a good English
speaking Renaissance scholar should be enlisted as a co-editor. They both thought it
obvious and natural that Leofranc should be involved, and Herbert expressed his
willingness to be part of the team. Leofranc was very excited by the idea. The three
of them were agreed that one more editor should be recruited, and that Jennifer
Bloxam would be an excellent choice; luckily she accepted with enthusiasm. At a
certain point Herbert preferred to withdraw from the whole editing work, which is
why his name does not appear on the cover. The three editors wish to thank him for
his very useful help in the first stage of the labours: without Herbert’s contribution
this book might well have met with a different fate.
Early decisions had to be made about the nature of the Festschrift. Bonnie has so
many musicological friends that it seemed invidious to select only a handful; on the
other hand, if every potential contributor were to be included, the bulk would become
unmanageable. It was therefore decided to restrict its scope to the fifteenth and six
teenth centuries (with a little leeway at the edges), but within that range to invite
Preface
contributions from as many people as possible whom Bonnie had had as colleagues
or whom she had assisted; senior doyens of the field would thus share the pages with
younger scholars on equal terms. We also wished to liberate Continental contributors
from the tyranny of the English language that a UK or US publisher would impose
on them; for that reason we welcomed the opportunity of publication in Philippe
Vendrix’s series Épitome musical. This had the further consequence that English-
language contributions could be published either in British English, edited in the
style of the Oxford University Press, or in American English according to the Chicago
Manual of Style, without the subordination of one to the other that would have re
sulted from publication in Great Britain or the United States.
Because we envisaged so many contributions, the individual articles had to be
brief, making their points without bibliographical overkill and without smothering
new matter beneath the History of the Question, or as Gioia put it incominciare dagli
Etruschi. Our authors rose nobly to the challenge.
As we expected, those approached were very glad to contribute, or very apologetic
that they could not; in the end sixty-six articles were obtained, which we spent well
over three years editing and discussing with their authors. This was a far more con
genial process than it often proves, owing to the universal goodwill towards our hono-
rand. We were gratified to find that we could divide the essays into sections that re
flected Bonnie’s own scholarly interests: on composition and counterpoint, on music
in the service of devotion, on musical biography, on manuscripts, on specific pieces of
music, on its production and consumption, and on teachers and theorists.
We hope that this volume will approach being an adequate tribute to the person
who has done so much to enrich so many people’s personal and scholarly lives, but also
that it will in its own right be a worthy contribution to our common field of study.
Gioia Filocamo
M. Jennifer Bloxam
Leofranc Holford -Strevens
For permission to usage copyright images we are indebted to the following rights-
holders: David Fisher, for his photograph of Bonnie; Arnaldo Forni Editore; the
Biblioteca Apostolica Vaticana, Vatican City; the Biblioteca Capitolare, Verona; the
Biblioteca Nazionale Centrale, Florence; the Biblioteka Gdahska Polskiej Akademii
Nauk; the Bibliothèque nationale de France, Paris; the Bodleian Library, Oxford; the
Catedral de San Antolin, Palencia; the Congregazione della Misericordia Maggiore,
Bergamo; the Erzbischöfliches Diözesanarchiv, Vienna; the Médiathèque municipale,
Cambrai; the Museo Internazionale e Biblioteca della Musica, Bologna; the Staats
und Stadtbibliothek, Augsburg; and the Thüringer Universitäts- und Landesbibliothek,
Jena. We should also like to thank Philippe Vendrix and his team, especially Vincent
Besson, for so patiently enduring our changes of mind and for producing such a
handsome volume.
G.F.
M.J.B.
L.A.H.-S.
Tabula Gratulatoria
Margaret Bent , Jaap van Benthem , Anna Maria Busse Berger , Jane A. Bernstein ,
Lawrence F. Bernstein , Donna G. Cardamone , Tim Carter , Camilla Cavicchi , Anne-
Emmanuelle Ceulemans , Annie Cœurdevey , Marie-Alexis Colin , Anthony
M. Cummings , Frank A. D’Accone , Gianluca D’Agostino , Jeffrey J. Dean , Christina
Diego -Pacheco , Frank Dobbins , Warren Drake , Willem Elders , Cathy Ann Elias ,
David Fallows , David Fiala , Gioia Filocamo , Fabrice Fitch , Richard Freedman , Sean
Gallagher , Rebecca L. Gerber , John Griffiths , James Haar , Barbara Haggh , Paula
Higgins , Leofranc Holford -Strevens , Edward F. Houghton , Eric Jas , Herbert
Kellman , Tess Knighton , Ole Kongsted , Kenneth Kreitner , Elizabeth Eva Leach ,
Christian Thomas Leitmeir , Agnieszka Leszczynska , Mary S. Lewis , Lewis Lockwood ,
Birgit Lodes , Patrick Macey , Agostino Magro , Melanie L. Marshall , Honey Meconi ,
John Milsom , Vladimir Mollé , Arnaldo Morelli , Bernadette Nelson , Michael Noone ,
Jessie Ann Owens , Alejandro Enrique Planchart , Klaus Pietschmann , Keith Polk ,
Massimo Privitera , William F. Prizer , Richard Rastall , Owen Rees , Stephen Rice ,
Joshua Rifkin , Véronique Roelvink , Saskia C. M. M. Rolsma , Katelijne Schiltz , Thomas
Schmidt -Beste , Richard Sherr , Martin Staehelin , Laurie Stras , Reinhard Strohm ,
Alice Tacaille , Jennifer Thomas , Philippe Vendrix , Rob C. Wegman , Blake Wilson ,
Peter Wright , Giovanni Zanovello , Vasco Zara .
Universität Bern, Institut für Musikwissenschaft;
M.I.T. Libraries-monogr.Acq., Massachussetts Inst. Technology;
Università degli studi di Pavia, Facoltà di Musicologia, Cremona;
Muziekinstrumentenmuseum, Brussel;
Musikwissenschaftliches Institut, Basel;
Centre d'études supérieures de la Renaissance, Tours.
Contents
Figures ♦ xv
Editions of Complete Pieces ♦ xvii
Inventories ♦ xviii
Tables ♦ xix
Abbreviations ♦ xxii
Contributors ♦ xxvii
— Composition and Counterpoint —
Margaret Bent
Naming of Parts: Notes on the Contratenor, c.1350-1450 ♦ 1
Anna Maria Busse Berger
The Problem of Diminished Counterpoint ♦ 13
Tim Carter
‘Improvised’ Counterpoint in Monteverdi’s 1610 Vespers ♦ 29
Fabrice Fitch
Towards a Taxonomy of the ‘Eton Style’ ♦ 37
Jessie Ann Owens
‘el foglio rigato’ Revisited: Prepared Paper in Musical Composition ♦ 53
Stephen Rice
Aspects of Counterpoint Theory in the Tractado de canto mensurable (1535)
of Matheo de Aranda ♦ 63
— Devotion —
In Northern Europe
Barbara Haggh
The Beguines of Bruges and the Procession of the Holy Blood ♦ 75
Alejandro Enrique Planchart
The Polyphonic Proses of Guillaume Du Fay ♦ 87
In Italy
Frank A. D’Accone
Francesco Corteccia’s Hymn for St. John’s Day
in the Florentine Liturgy, c.1544-1737 ♦ ioi
Thomas Schmidt -Beste
The Repertoire of the Papal Chapel after the Council of Trent:
Tradition, Innovation, or Decline? ♦ 109
Laurie Stras
Imitation, Meditation, and Penance:
Don Lodovico Agostini’s Le lagrime del peccatore (1586) ♦ i2i
Giovanni Zanovello
«In oratorio nemo aliquid agat»: Savonarola, lo spazio sacro e la musica ♦ 129
In Spain
Tess Knighton
Marian Devotions in Early Sixteenth-Century Spain:
The Case of the Bishop of Palencia, Juan Rodriguez de Fonseca (1451—1524) ♦ i37
Kenneth Kreitner
The Ceremonial Soft Band of Fifteenth-Century Barcelona ♦ 147
Michael Noone
An Early Seventeenth-Century Source for Performing Practices
at Toledo Cathedral ♦ 155
— Lives —
Paula Higgins
Speaking of the Devil and Discipuli:
Eloy d’Amerval, Saint-Martin of Tours, and Music in the Loire Valley, c.1465—1505 ♦ 169
Herbert Kellman
Dad and Granddad Were Cops: Josquin’s Ancestry ♦ 183
Lewis Lockwood
‘It’s true that Josquin composes better ...’:
The Short Unhappy Life of Gian de Artiganova ♦ 201
— M anuscripts —
Northern Europe
David Fallows
The Contents of the Herdringen Scores ♦ 217
Gioia Filocamo
Sulle orme di Ulrich Schubinger ‘il giovane’: repertorio ‘vivo’ dal codice musicale Augsburg,
Staats- und Stadtbibliothek, 2o 142a ♦ 233
Birgit Lodes
Des Kaisers Alamire: Zur Entstehung des Chorbuchs Wien,
Österreichische Nationalbibliothek, Mus. Hs. 15495 ♦ 247
Central Europe
Agnieszka Leszczy nska
Franciscus de Rivulo and the Manuscript Gdaήsk, Biblioteka Gdaήska Polskiej
Akademii Nauk 4003 ♦ 259
Peter Wright
Polyphony for Corpus Christi in an Unknown Fragmentary Source from
Mid-Fifteenth-Century Central Europe: An Interim Report ♦ 271
