- United Kingdom
Jacopo Mazzeo
University of Southampton, Music, Graduate Student
- Music, Early Music, Music History, Medieval Music, Musicology, Renaissance music, and 47 moreRenaissance Motet, Ars Antiqua Motet, Musical notation, Music History Pedagogy, French Royal Court, Aquitanian notation, Early 20th-century Music, 20th Century Music, Neoclassicism, Crusades and the Latin East, Nationalism, Notre dame polyphony, Franciscan Missions in China, Medieval History, Crusades, Medieval Chronicles, Manuscript Studies, Medieval musicology, Fourth Crusade, Medieval Studies, Medieval Literature, Manuscripts (Medieval Studies), Gregorian Chant, Medieval Church History, Liturgy, Historical Musicology, History of Crusades, Byzantine Studies, Byzantine History, History, Franciscan Studies, Medieval Europe, Codicology, Twentieth-century Music, Polyphony, Medieval Latin Literature, Cultural Musicology, Spirituality, History of Missions, History of the Franciscan Order, Beer (Alcohol Studies), Craft beer, Beer and Brewery History, Beer consumption trends, craft brewing industry, Craft Beer Marketing Research, Cultural history of beer, and Beeredit
- Musicologist specialised on the late Middle Ages (1100-1300). My PhD thesis, supervised by Prof Mark Everist, is ent... moreMusicologist specialised on the late Middle Ages (1100-1300).
My PhD thesis, supervised by Prof Mark Everist, is entitled ‘The Two-Part Conductus: Morphology, Dating and Authorship’. It has centred on the polyphonic conductus repertoire (c.1150-1250), focussing on issues of authorship, the structural analysis of the corpus, and the investigation of its development throughout its life-span.
I completed both my Laurea Triennale (BA, 2007) and Laurea Specialistica (MA, 2010) in Musicology at the Università di Bologna, under the supervision of Professor Cesarino Ruini. For the Laurea Triennale I investigated the relation between Troubadour lyrics and Dante’s Divina Commedia. For the Laurea Specialistica I undertook an analysis and catalogue of seven fifteenth- and sixteenth-century manuscripts from Polirone Abbey, near Mantua. In addition to my specialism in the Middle Ages, I have been carrying out research on Italian twentieth-century music under the Fascist regime.edit
Research Interests: Music, Music History, Musicology, Medieval Literature, Medieval History, and 12 moreMedieval Studies, Manuscript Studies, Medieval Europe, Medieval Music, Polyphony, Manuscripts (Medieval Studies), Historical Musicology, Conductus, Ars Antiqua Motet, Troubadour Studies, Contrafactum, and Ars Antiqua
Research Interests: Music, Musicology, Medieval History, Medieval Studies, Rare Books and Manuscripts, and 13 moreManuscript Studies, Medieval Church History, Medieval Europe, Gregorian Chant, Medieval Art, Manuscripts (Medieval Studies), Medieval illuminated manuscripts, Historical Musicology, Manuscripts, Medieval musicology, Kupferstichkabinett, Berlin, Alessandro Castellani, and Berliner Kupferstichkabinett
This document has been made by myself to complement the relative images on DIAMM, where the fragments are reconstructed according to Bukofzer. I need to acknowledge that a similar reconstruction – not on DIAMM – has been previously... more
This document has been made by myself to complement the relative images on DIAMM, where the fragments are reconstructed according to Bukofzer.
I need to acknowledge that a similar reconstruction – not on DIAMM – has been previously published in Daniel Leech-Wilkinson, “Jesus College, Binding Fragments from MS QB 1,” in Cambridge music manuscripts, 900-1700, ed. Iain Fenlon (Cambridge: Cambridge University Press, 1982).
I need to acknowledge that a similar reconstruction – not on DIAMM – has been previously published in Daniel Leech-Wilkinson, “Jesus College, Binding Fragments from MS QB 1,” in Cambridge music manuscripts, 900-1700, ed. Iain Fenlon (Cambridge: Cambridge University Press, 1982).
Salimbene de Adam’s Chronicle represents one of the most fascinating depictions of everyday life and narration of events of the period between the mid-twelfth to the end of the thirteenth century. In passages dedicated to the figure of... more
Salimbene de Adam’s Chronicle represents one of the most fascinating depictions of everyday life and narration of events of the period between the mid-twelfth to the end of the thirteenth century. In passages dedicated to the figure of the Italian monk Henricus Pisanus, Salimbene mentions some conducti transmitted by the sources of the Notre Dame corpus, accounting Henricus as the author of their music.
This paper will discuss selected passages with the aim of casting some light on Henricus Pisanus’ musical activity, alongside the broader discussion of issues of authorship within the Notre Dame conductus repertoire.
This paper will discuss selected passages with the aim of casting some light on Henricus Pisanus’ musical activity, alongside the broader discussion of issues of authorship within the Notre Dame conductus repertoire.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests: Music, Music History, Musicology, Medieval History, History of Christianity, and 12 moreLiturgy, Medieval Studies, Monastic Studies, Manuscript Studies, Medieval Church History, Codicology, Medieval Music, Gregorian Chant, Monasticism, Medieval illuminated manuscripts, Historical Musicology, and Medieval musicology
The conductus repertoire was widely cultivated between c.1160 and the late thirteenth century, and it comprises Latin texts set to both monody and polyphony. Unlike the organum and the motet, the conductus does not normally exploit any... more
The conductus repertoire was widely cultivated between c.1160 and the late thirteenth century, and it comprises Latin texts set to both monody and polyphony. Unlike the organum and the motet, the conductus does not normally exploit any pre-existing musical or poetic material. This makes the polyphonic share of conductus material the first newly composed, coherent repertoire for more than one voice.
This thesis focuses on the two-part conductus. It aims at exploring the authorial and historical context in which it was created, analysing and categorising the interaction between its syllabic and melismatic sections, and describing its development over the life span of the corpus.
The conductus is introduced and presented within the broader context of music of its time. It is argued that most of the extant testimonies of conductus were subject to several stages of reworking, and a multitude of personalities are credited with the creation of the repertoire as a whole. Furthermore, the study discusses some particular cases of contested attribution and proposes new authorial identifications.
The analytical description that follows challenges the current view of the polyphonic conductus as a rigid juxtaposition of syllabic cum littera and melismatic sine littera sections. Such a sharp division does not take into account the complex structure of the syllabic cum littera music. The analytical study consequently undertaken describes all melismatic features of the two-voice conductus. Two groups of melismas are identified. The first, framing caudae, typically covers a structural role. The second, internal caudae, interacts actively with all the components of the song: text, meter, rhymes, and meaning of the poem.
The last section of this work examines the evolution of the use of melismas throughout the lifespan of the genre. The study is accomplished by building on the previous analytical investigation, diminishing ambiguities due to the relatively small sample of datable songs. The terminal cauda results being the main feature of the repertoire, initially set to all stanzas. The initial cauda was instead either set to all stanzas or not used at all. The approach to framing caudae becomes more flexible after the end of the twelfth century. Internal caudae were instead always used by conducti composers.
This thesis focuses on the two-part conductus. It aims at exploring the authorial and historical context in which it was created, analysing and categorising the interaction between its syllabic and melismatic sections, and describing its development over the life span of the corpus.
The conductus is introduced and presented within the broader context of music of its time. It is argued that most of the extant testimonies of conductus were subject to several stages of reworking, and a multitude of personalities are credited with the creation of the repertoire as a whole. Furthermore, the study discusses some particular cases of contested attribution and proposes new authorial identifications.
The analytical description that follows challenges the current view of the polyphonic conductus as a rigid juxtaposition of syllabic cum littera and melismatic sine littera sections. Such a sharp division does not take into account the complex structure of the syllabic cum littera music. The analytical study consequently undertaken describes all melismatic features of the two-voice conductus. Two groups of melismas are identified. The first, framing caudae, typically covers a structural role. The second, internal caudae, interacts actively with all the components of the song: text, meter, rhymes, and meaning of the poem.
The last section of this work examines the evolution of the use of melismas throughout the lifespan of the genre. The study is accomplished by building on the previous analytical investigation, diminishing ambiguities due to the relatively small sample of datable songs. The terminal cauda results being the main feature of the repertoire, initially set to all stanzas. The initial cauda was instead either set to all stanzas or not used at all. The approach to framing caudae becomes more flexible after the end of the twelfth century. Internal caudae were instead always used by conducti composers.