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Manuscript Studies

Music

Articles 1 - 10 of 10

Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture

Illustrating The Music Of The Mass: A Case Study, Elizabeth Teviotdale Sep 2003

Illustrating The Music Of The Mass: A Case Study, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of the figural decoration of a late 11th-century gradual from Toulouse (London, BL, MS Harley 4951, fols. 121-301), concluding that the psalmodic origin of the texts of many chants of the mass informed the way in which those of the 11th century conceived the chants.


A Pair Of Franco-Flemish Cistercian Antiphonals Of The Thirteenth Century And Their Programs Of Illumination, Elizabeth Teviotdale Dec 1999

A Pair Of Franco-Flemish Cistercian Antiphonals Of The Thirteenth Century And Their Programs Of Illumination, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of Los Angeles, Getty Museum, MS 44/Ludwig VI 5 and related fragments, extant and lost, reconstructing the original programs of illumination of their parent manuscripts, a pair of antiphonals produced in the second half of the 13th century in the Franco-Flemish border region, and establishing a taxonomy of relationships between subjects chosen for the historiated initials and the manuscript's text.


A Fragmentary Cistercian Antiphonal In The Getty Museum And Its Illumination, Elizabeth Teviotdale Dec 1997

A Fragmentary Cistercian Antiphonal In The Getty Museum And Its Illumination, Elizabeth Teviotdale

Elizabeth C Teviotdale

A study of the illumination of Los Angeles, J. Paul Getty Museum, MSS 44 and Ludwig VI 5 (later to be bound as one codex), the remains of a Franco-Flemish choir book produced in the second half of the 13th century. The published version of a paper given at the seventh meeting of the Cantus Planus Study Group of the International Musicological Society (September 4-9, 1995) in Sopron.


From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale Jun 1996

From Choir Book To Scrap Book: The Initials In Hmml Bean Ms 3, Elizabeth Teviotdale

Elizabeth C Teviotdale

A consideration of the origin of a group of cuttings contained in a 19th-century album (Collegeville, Hill Monastic Manuscript Library, Bean MS 3), with an analysis is the relationship of the initials' figural subjects to the texts they introduced. The cuttings, a series of historiated and decorated initials, were taken from one of a pair of choir books made in northern France or Flanders for a house of Cistercian nuns in the 13th century.


750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale Dec 1995

750 Years In The Life Of A Pair Of Cistercian Antiphonals, Elizabeth Teviotdale

Elizabeth C Teviotdale

Examines the provenance and dissemination of a multivolume antiphonary produced for the Cistercian nunnery near Cambrai. The MS is presently dispersed through several collections. In 1983 the J. Paul Getty Museum, Los Angeles, purchased from the German art collectors Peter and Irene Ludwig 19 leaves and four cuttings from the MS (MS Ludwig VI 5). In 1992, the Museum acquired an additional 81 leaves (MS 44). One leaf is kept at the Cleveland Museum of Art (inv. no. 85.83), and cuttings are at the Nationalmuseum in Stockholm (B 1730-32) and in a private collection in Collegeville, Minnesota (Hill Monastic ...


Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale Dec 1991

Some Thoughts On The Place Of Origin Of The Cotton Troper, Elizabeth Teviotdale

Elizabeth C Teviotdale

Argues that the first fragment in London, BL, MS Cotton Caligula A.xiv was copied at Winchester Old Minster or at Worcester either for the cathedral priory at Worcester or for a highly-placed individual at Worcester. The published version of a paper given at the fourth meeting of the Cantus Planus Study Group of the International Musicological Society (September 3-8, 1990) in Pécs.


Music And Pictures In The Middle Ages, Elizabeth Teviotdale Dec 1991

Music And Pictures In The Middle Ages, Elizabeth Teviotdale

Elizabeth C Teviotdale

Discusses various examples of music and musicians in works of medieval manuscript art.


The Making Of The Cotton Troper, Elizabeth Teviotdale Dec 1991

The Making Of The Cotton Troper, Elizabeth Teviotdale

Elizabeth C Teviotdale

Provides a detailed description of a fragment of an illustrated 11th-century English troper, forming the first portion of MS Cotton Caligula A.XIV (London, BL). The major decoration is an initial and paintings of Christological and hagiographical subject matter.


The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale Dec 1987

The Filiation Of The Music Illustrations In A Boethius In Milan And In The Piacenza Codice Magno, Elizabeth Teviotdale

Elizabeth C Teviotdale

Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.


The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale Mar 1983

The Filiation Of The Musical Illustrations In Milano, Biblioteca Ambrosiana, Ms. C 128 Inf. And Piacenza, Biblioteca Capitolare, Ms. 65, Elizabeth Teviotdale

Elizabeth C Teviotdale

Proposes a common prototype from the tradition of illustrated manuscripts of Cassiodorus’s Institutiones as the explanation for the close iconographic relationship between music illustrations in a manuscript (here dated to the 11th century) of the De arithmetica and De musica of Boethius (Milan, Biblioteca Ambrosiana, MS C.128 inf.) and in the 12th-century Codice Magno (Piacenza, Biblioteca Capitolare, MS 65). Suggests that the iconography may have originated in a Carolingian scriptorium.