Welcome to Musicology in the Making, my ‘petite’ research blog.

Go to Thoughts to catch up on my recent blog posts. You can find out more About me, and now you can also view a list of my current publications.

Enjoy, and don’t hesitate to get in touch!


2 thoughts on “Welcome

  1. I appreciate very much your lean study on CB 143. But I have no clue where you got the term “atavistic polyphony” from. Could you illuminate me?

    • Dear Hans,

      Thanks for your encouraging comment about CB143!

      Regarding the term ‘atavism’: for a more recent use in Anglophone scholarship, you might like to look at Bryan Gillingham’s ‘Atavism and Innovation in a Late Medieval Proser’, in: La Sequenza Medievale, Atti del Convegno Internazionale Milano 7–8 aprile 1984, ed. by Agostino Ziino, Lucca 1992, pp. 87–105. Terms with a similarly negative slant abound in the German literature on early polyphony: examples are Arnold Geering’s use of the term ‘retrospektiv’ (‘Retrospektive mehrstimmige Musik in französischen Handschriften des Mittelalters’, in: Miscelánea en homenaje a monseñor Higinio Angles, vol. 1, Barcelona 1958–1961, pp. 307–314), or Jacques Handschin’s concept of ‘Rückständigkeit’ (‘Peripheres’, in: Mitteilungen der schweizerischen musikforschenden Gesellschaft 2 (1935), pp. 24–32).

      Ludwig Finscher’s distinction in relation to later repertoires between art-music and ‘Gebrauchsmusik’ that is merely ‘usuell’ also fits into this kind of narrative (Die Musik des 15. und 16. Jahrhunderts, vol. 1, Laaber 1989; see also the comments on Finscher’s usage in Christian Thomas Leitmeir, Jacobus de Kerle (1531/32–1591): Komponieren im Spannungsfeld von Kirche und Kunst, Turnhout 2009, p. 65).

      I hope this clarification is helpful!

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