In praise of music: motets, inscriptions and musical philosophy in Robert Dow's partbooks.
The Elizabethan music partbooks of Robert Dow, Fellow of All Souls, are notable not only for their elegant calligraphy but also for their inclusion of Latin inscriptions that offer praise for particular composers or comment on the nature of music. Debates surrounding these partbooks have focused on...
| Publicado en: | Early Music Vol. 45; no. 1; pp. 89 - 102 |
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| Formato: | Artículo |
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Oxford University Press / USA
Feb2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=125119161&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 125119161 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 03061078 EMU jtl: Early Music issn: 03061078 maglogo: N pubinfo: dt: Feb2017 vid: 45 iid: 1 pid: 622 pub: Oxford University Press / USA artinfo: ui: 125119161 10.1093/em/cax006 ppf: 89 ppct: 13 formats: tig: atl: In praise of music: motets, inscriptions and musical philosophy in Robert Dow's partbooks. aug: au: Butler, Katherine affil: Research assistant at the University of Oxford su: Dow, Robert Motets Campion, Edmund History of church music Ave Maria (Musical form) Parsons, Robert, 1546-1610 sug: subj: Dow, Robert Motets Campion, Edmund History of church music Ave Maria (Musical form) Parsons, Robert, 1546-1610 keyword: 16th-century England Latin inscriptions motet partbooks praise of music Renaissance music Robert Dow Tudor music ab: The Elizabethan music partbooks of Robert Dow, Fellow of All Souls, are notable not only for their elegant calligraphy but also for their inclusion of Latin inscriptions that offer praise for particular composers or comment on the nature of music. Debates surrounding these partbooks have focused on the extent to which they may, or may not, reflect Catholic sympathies on the part of Dow, but this is not the subject of Dow's Latin inscriptions. More apparent is the contribution that these partbooks make to debates regarding the virtues and vices of music-making, a topic that was a particular preoccupation in Oxford circles during the 1580s, just as Dow was copying. Analysing the connection between the inscriptions that draw on myths and commonplaces regarding the powers of music and the motets that they accompany, I argue that these juxtapositions reveal Dow's deep awareness of the issues and rhetoric deployed by recent authors in praise of music. Rather than projecting Catholic sympathies, Dow more obviously presented himself as a defender of music, and his thoughtfully placed inscriptions invited users of these books to reflect on music's role in pious living, good health and honest social pleasures, while also insinuating the unnaturalness and ungodliness of music's critics. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2017 holdings: @attributes: islocal: N |
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