La Salle University
Furman University
Claremont Colleges
Western Michigan University
Wright State University
Getty Research Institute
CHAM Centro de História d’Aquém e d’Além-Mar
Providence College
Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’,
2018
University of Pennsylvania
Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’, Kevin Brownlee
Bibliotheca Dantesca: Annual Journal of Research Studies
The present paper explores the relation between the vernacular words used to designate the Act of Song, and the inscribed texts of the Sung Music itself, by considering a set of key cases first in Purgatory and then in Paradise. It focuses on important moments of structural and literary transition, at the same time as showing how sung sacred texts relate to each other (and to other kinds of passages) in important functional ways. I examine how song works in five key moments of the protagonist’s journey: the exit from the final terrace of the Purgatorial mountain, and the ...
From Casella To Cacciaguida: A Musical Progression Toward Innocence,
2018
University of Pennsylvania
From Casella To Cacciaguida: A Musical Progression Toward Innocence, Thomas E. Peterson
Bibliotheca Dantesca: Annual Journal of Research Studies
The essay draws an arc between the episodes of Casella and Cacciaguida under the sign of music. It explores the symmetry between the brief encounter with the minstrel who sings lines from Dante’s poetry, and the extended episode with Dante’s ancestor, who instructs him about his destiny. The symmetry is at once biographical, as the two scenes are among the most personal in the Commedia, theoretical, as they exemplify the relations between poetry and music expounded on in De vulgari eloquentia and Convivio, and theological, in a sense consistent with the writings of Augustine and Boethius. If Mars ...
Dante, Liszt, And The Alienated Agony Of Hell,
2018
University of Pennsylvania
Dante, Liszt, And The Alienated Agony Of Hell, Tekla Babyak
Bibliotheca Dantesca: Annual Journal of Research Studies
Dante Alighieri’s Inferno portrays Hell as an alienated realm in which the doomed spirits must spend eternity in isolation and regret. The Hungarian composer Franz Liszt (1811–1886) responded to this work with his Dante Symphony (1857) based on the Inferno and Purgatorio, in which he gave musical form to Dante’s textual expressions of agony. Throughout this two-movement work, Liszt offers a musical translation of the theological and emotional world portrayed in Dante’s Divina Commedia. This article examines Liszt’s evocations of silence, memory, regret, and redemption in the Dante Symphony. These evocations are enhanced by Liszt ...
Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’,
2018
University of Pennsylvania
Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’, Maria Ann Roglieri
Bibliotheca Dantesca: Annual Journal of Research Studies
Composers through the centuries have tried to depict Dante’s Commedia in music, using Dante’s verses, characters, and design for Hell, Purgatory, and Heaven, and their compositions. This paper looks at some of the trends in musical adaptations of the Commedia and also some of the “greatest hits”—in the author’s opinion. Works by James Norton, Patric Standford, Jacob ter Veldhuis, David Denniston, Franz Liszt, Donald Martino, Tod Machover, Anita Saij, Allik and Mulder, and Theodore Wiprud are discussed.
“Dentro A La Danza De Le Quattro Belle” (Purg. 31.104): Dance In Dante’S ‘Commedia’,
2018
University of Pennsylvania
“Dentro A La Danza De Le Quattro Belle” (Purg. 31.104): Dance In Dante’S ‘Commedia’, Madison U. Sowell
Bibliotheca Dantesca: Annual Journal of Research Studies
Missing from standard reference works on Dante’s Commedia are separate entries devoted exclusively to dance or dancing. Primary sources for the history of dance in the Italian Trecento derive from tablatures (musical notations), scattered iconographic images, and literary works, such as Boccaccio’s Decameron and Dante’s Commedia. Representations of dancing in these works invariably double as a symbolic language or meta-commentary on the surrounding narrative. The interpretation of dance’s role in late medieval art and literature depends not only on the context but also on the type of dance depicted. This article focuses on the allegorical roles ...
Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell,
2018
University of Pennsylvania
Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell, Jess Tyre
Bibliotheca Dantesca: Annual Journal of Research Studies
Tchaikovsky completed his tone poem Francesca da Rimini in 1876, during the period he was attending the premiere of Wagner’s Ring Cycle at Bayreuth. Critics of the work drew comparisons with the Tetralogy and faulted what seemed to be Tchaikovsky’s derivative inspiration. Indeed, the composer him-self acknowledged Wagner’s influence. In this paper, I set aside influence to consider intertextual dialogues between Tchaikovsky’s work and others by Liszt, Zandonai, Rachmaninov, and not Wagner’s Ring, but Tristan und Isolde. Drawing upon theories by Klein and Peirce, I examine parallelisms of topic, melodic contour, tonal motion, and timbral ...
Singing For Dante In ‘Purgatorio’ 30–31,
2018
University of Pennsylvania
Singing For Dante In ‘Purgatorio’ 30–31, Helena Phillips-Robins
Bibliotheca Dantesca: Annual Journal of Research Studies
This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia ...
“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’,
2018
University of Pennsylvania
“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’, Francesco Ciabattoni
Bibliotheca Dantesca: Annual Journal of Research Studies
This essay tracks the historical-musicological context of the lemma “organi” / “organo” as it appears in Purg. 9.144 and Par. 17.44. Drawing from medieval treatises and monks’ descriptions such as Raban Maur, Notkerus Balbulus, Baldric of Dol, Aelred of Rievaulx, and Wulstan, the author uses intertextual evidence to show that Purg. 9.144 (“quando a cantar con organi si stea”) evokes a great pipe organ as was found in some medieval churches. The essay also argues that Par. 17.43–44 (“come viene ad orecchia / dolce armonia da organo”) should be understood as a polyphonic organum that serves the ...
Stasis And Carnal Song: Dante’S Medusa And The Siren,
2018
University of Pennsylvania
Stasis And Carnal Song: Dante’S Medusa And The Siren, Fiorentina Russo
Bibliotheca Dantesca: Annual Journal of Research Studies
In his epic journey, Dante experiences entrapments, digressions, and ultimately new apertures, leading him forward on his journey to Paradise. The hag-siren of Purgatorio 19 is one of the primary figures, whose song sways the poet in a moment of reverie, embodying a de-mobilizing entrapment most unique and perilous within the poem. While the patristic and medieval traditions have traditionally portrayed the siren as a figure for the deleterious effects of music on the soul, Dante scholarship has glossed the dolce serena as a coordinate for the Medusa of Inferno 9. The siren's association with the Medusa implicitly harkens ...
Ironizing Ugolino,
2018
University of Pennsylvania
Ironizing Ugolino, David Heinsen
Bibliotheca Dantesca: Annual Journal of Research Studies
This article analyzes an adaptation of Canto 33 of the Inferno, a musical setting of Count Ugolino composed by Gaetano Donizetti (1828). The composition is first presented within the frame of its contemporaneous aesthetic, one that treats Ugolino as a pathos-inspired tale of human suffering. Donizetti’s composition, however, fails to align itself to this tragic reading due to structural contradictions that prevent the listener from sympathizing with the musical agent. To address this divergence, the article extends the most recent theories of musical narrative by Byron Almén and Michael Klein to propose an ironic reading of the work, essentially ...
Dante Decrypted: Musica Universalis In The Textual Architecture Of The ‘Commedia’,
2018
University of Pennsylvania
Dante Decrypted: Musica Universalis In The Textual Architecture Of The ‘Commedia’, C.S. Adoyo
Bibliotheca Dantesca: Annual Journal of Research Studies
For seven centuries scholars have speculated about the structural design of Dante’s Commedia but remain perplexed by the poem’s comprehensive ar-chitecture. This study undertakes a strictly empirical quantitative analysis of Dante’s magnum opus to address this lacuna. The outcome of this analysis enumerates the correspondence between the foundational rationale of the Commedia’s textual architecture and both physical and metaphysical concepts of Ptolemaic cosmology and Pythagorean principles of harmony and propor-tion as described by Boethius. The poem manifests a musically and mathemat-ically meticulous design conceptualized as musica universalis and expressed as musica instrumentalis that echoes Paschal and ...
“Scores For A Particular Chemical Orchestra”: The ‘Commedia’ And The Matter Of Sound In Osip Mandelstam’S ‘Conversation About Dante’,
2018
University of Pennsylvania
“Scores For A Particular Chemical Orchestra”: The ‘Commedia’ And The Matter Of Sound In Osip Mandelstam’S ‘Conversation About Dante’, Andrea Gazzoni
Bibliotheca Dantesca: Annual Journal of Research Studies
This paper discusses the implications of the wide-ranging use of sound in Osip Mandelstam’s 1933 essay “Conversation about Dante,” a landmark in the twentieth-century reception of Dante. With a special focus on the sound mo-tives incorporated in Mandelstam’s description of the Commedia, the Con-versation is analyzed as a study in the receptiveness of the reader, as it is acti-vated by the poetic speech of Dante in a call-and-response relation. At the same time, the paper explores issues of individuation, as reading through sound brings the reader back to his or her historicity and presentness, and of trans-formation, as ...
“Canzone... T’Ho Allevato Per Figliuola D’Amore”: Three Songs Of Love In Dante’S ‘Vita Nuova’,
2018
University of Pennsylvania
“Canzone... T’Ho Allevato Per Figliuola D’Amore”: Three Songs Of Love In Dante’S ‘Vita Nuova’, Alfred R. Crudale
Bibliotheca Dantesca: Annual Journal of Research Studies
This paper examines the poetics and musicality of three canzoni of Dante’s Vita Nuova and explores how four fundamental musical elements produce specific meanings while evoking a desired emotion in the reader. “Donne ch’avete intelletto d’amore,” the first canzone of the Vita Nuova, initiates Dante’s poetry of praise as it contributes to the elation of the first third of the work. The two later canzoni, “Donna pietosa” and “Li occhi dolenti,” however, transition the Vita Nuova to a more somber and finally grief-stricken piece. Analysis of the musical elements of these three poems demonstrates how Dante ...
Weaving Sanctity: The Textile Relics Of St Cuthbert,
2018
Dallas Museum of Art
Weaving Sanctity: The Textile Relics Of St Cuthbert, Elisabeth Cremeens
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
The Music Of Angels In Byzantine And Post-Byzantine Art,
2018
Barnes Foundation
The Music Of Angels In Byzantine And Post-Byzantine Art, Amy Gillette
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
Determining The Stylistic Origin Of The Toledo Gate (La Puerta De Toledo) In Ciudad Real, La Mancha, Spain Using Terrestrial Laser Scanning,
2018
University of South Florida, Center for Virtualization and Applied Spatial Technologies
Determining The Stylistic Origin Of The Toledo Gate (La Puerta De Toledo) In Ciudad Real, La Mancha, Spain Using Terrestrial Laser Scanning, Kamila Oleś, Kaitlyn Kingsland
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
The Black Death And Painters’ Remuneration In The Kingdom Of Majorca,
2018
Florida State University
The Black Death And Painters’ Remuneration In The Kingdom Of Majorca, Doron Bauer
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
Traded, Then Venerated: The Fictitious Sacred Histories Of Two Nasrid Vases,
2018
Bronx Community College, CUNY
Traded, Then Venerated: The Fictitious Sacred Histories Of Two Nasrid Vases, Andrea M. Ortuño
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
Bench Ends In The Church Of St John The Baptist, Bressingham, Norfolk, Uk,
2018
Independent Scholar
Bench Ends In The Church Of St John The Baptist, Bressingham, Norfolk, Uk, Richard Hayman
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
Review: Of Earth And Heaven. Art From The Middle Ages (London, Sam Fogg, 2018),
2018
University of St. Andrews, Doctoral Candidate
Review: Of Earth And Heaven. Art From The Middle Ages (London, Sam Fogg, 2018), Julia Faiers
Peregrinations: Journal of Medieval Art and Architecture
No abstract provided.
