bluuebunny/crossref_metadata_2025 huggingface dataset:
Slot and frame patterns and the development of the determiner category
Authors: Pine Julian M. , Lieven Elena V. M.
Published: December 2008

There has been a growing trend in recent years toward the attribution of adultlike syntactic categories to young, language-learning children. This has derived support from studies which claim to have found positive evidence for syntactic categories in the speech of young children (e.g., Valian, 1986). However, these claims contradict the findings of previous research which have suggested that the categories underlying children's early multiword speech are much more limited in scope (e.g., Braine, 1976). The present study represents an attempt to differentiate and test these models of early multiword speech: focusing on the syntactic category of determiner, we investigated the extent to which 11 children showed overlap in the contexts in which they used different determiner types in their early multiword corpora. The results demonstrated that, although children do use determiners with a semantically heterogeneous collection of different noun types, there is very little evidence that they know anything about the relationship between the different determiner types, and thus there is no real case for the attribution of a syntactic determiner category. Indeed, this pattern of determiner use seems perfectly consistent with a limited-scope formula account of children's early multiword speech, as proposed by Braine (1976). These findings suggest that the development of an adultlike determiner category may be a gradual process, one involving the progressive broadening of the range of lexically specific frames in which different determiners appear, and are broadly consistent with a number of recent constructivist models of children's early grammatical development.
Single-word shadowing and the study of lexical access
Authors: Liu Hua , Bates Elizabeth , Powell Tracy , Wulfeck Beverly
Published: December 2008

A new procedure called single-word shadowing was applied to the study of lexical access in context. Subjects listened to word pairs or sentences recorded in one voice and were asked to repeat the target word signaled by a voice shift. This technique yielded rapid and robust priming effects in normal adult subjects in word pairs and in a sentence context. Regression analyses showed that the semantic priming effects were large and significant, even when several additional factors believed to affect lexical access were controlled. Evidence was found for robust semantic priming in the healthy elderly and in children from 7 to 11 years of age, and there was also evidence for a change in the size and nature of context effects across the lifespan. Because single-word shadowing works across a broad age range and does not require reading, secondary tasks, or metalinguistic judgments, it is a promising tool for the study of lexical access in a range of different populations.
Pragmatic language disorder and perspective taking in autistic speakers
Authors: Volden Joanne , Mulcahy R. F. , Holdgrafer G.
Published: December 2008

The relationship between pragmatic referential communication skill and the cognitive ability to assess and assume another person's conceptual viewpoint was investigated in the autistic population. Ten high functioning autistic adolescents and young adults were matched for age and sex to normally developing controls and given referential communication and perspectivetaking tasks that had been previously demonstrated to be of comparable complexity. The groups were selected to be similar in terms of language skill.But despite their intact, elementary perspective-taking skills, the autistic subjects displayed significant communicative dysfunction. This suggests that factors other than a deficiency in the development of a “theory of mind” are significant contributors to the social communicative disorder associated with autism.
When a nod is as good as a word: Form-function relationships between questions and their responses
Authors: Bishop D. V. M. , Chan J. , Hartley J. , Weir F.
Published: December 2008

It is well established that syntactic form and communicative function do not always correspond: for instance, a syntactic question might function as a request for information (“did you see the play?”) or a request for acknowledgment when there is no doubt about polarity of the response (“there's a tower at Blackpool, isn't there”). Using data from a corpus of 18 child–adult conversations, we distinguished adult utterances that solicited information from those soliciting acknowledgment (i.e., where the response was predictable, and the utterance served a predominantly social function). Both types of utterance were usually responded to by children, but the form of response differed according to the communicative function of the utterance. Nonverbal and prosodic responses (e.g., nods or “mmh”) were significantly more likely to occur in response to utterances soliciting acknowledgment than in response to yes/no questions that solicited information. There were consistent form–function relationships for responses as well as for soliciting utterances. Nonverbal nods and headshakes were not functionally equivalent to verbal “yes” and “no.”
Preschool language and metalinguistic skills are links to reading success
Authors: Chaney Carolyn
Published: December 2008

This article reports the longitudinal follow-up of 41 preschool children as they moved into reading. When the children were 3 years old, they participated in a detailed assessment of their language, print, and metalinguistic skills. At the end of first grade, the children received two tests of phonological awareness and three reading measures: sound–symbol knowledge, word identification, and passage comprehension. Overall language development at age 3 just as strongly, or even more strongly, correlated with reading scores at age 7 as it had with metalinguistic and print awareness scores at age 3. In addition, the overall metalinguistic skills and print awareness of 3 year olds made significant contributions to reading achievement beyond what was provided by tacit language development. Specific metalinguistic domains were also good predictors of reading, with phonological and structural awareness offering more than word awareness.
Constituent order in picture pointing sequences produced by speaking children using AAC
Authors: Sutton Ann E. , Morford Jill P.
Published: December 2008

Children using Augmentative and Alternative Communication (AAC) picture boards often produce sequences of symbols that do not reflect the grammatical structure of the language spoken in their environment. These irregularities may reflect an incomplete or incorrect representation of linguistic structure. Alternatively, they may simply be the result of constraints on the communication mode itself. This study examined constituent order and deletion in picture board communication in children who are known to have intact linguistic knowledge (i.e., normally developing native speakers of English). The results suggest that English syntactic knowledge is not automatically applied to picture board communication. Additional skills may be required to transpose linguistic knowledge into the visual-graphic modality used in AAC systems. Moreover, the regularity of non-English responses suggests that there is a bias for specific structures in visual communication systems.
Working memory and distributed vocabulary learning
Authors: Atkins Paul W. B. , Baddeley Alan D.
Published: December 2008

This study tested the hypothesis that individual differences in immediate verbal memory span would predict success in second language vocabulary acquisition. The subjects learned 56 English–Finnish translations during two sessions using a method in which they were encouraged to distribute their learning and to use semantic encoding strategies where appropriate. Verbal, but not visuo-spatial, memory span was correlated with the rate of vocabulary learning, a result that could not have occurred because of immediate retrieval from a short-term buffer. When tested one week later, the subjects were less likely to remember those words they had had difficulty learning, even though they had studied these items more often. The theoretical and practical implications of the findings for vocabulary learning are discussed.
The role of lexical co-occurrence in aphasic sentence production
Authors: Kohn Susan E. , Cragnolino Ana
Published: December 2008

This study explores the notion that learned associations based on lexical co-occurrence probability influence sentence planning and, consequently, may contribute to the ability of aphasic speakers to produce well-formed sentences. To encourage aphasic speakers to rely on such associations, the subjects were administered a sentence generation task in which an uninflected transitive verb was the sole basis for sentence planning. Performance by normal control speakers was used to identify verb-noun pairs reflecting some degree of lexical association. The aphasic subjects tended to use proportionately fewer associated word pairs in their sentences. The level of associate use was not correlated with either their picture naming scores or their performance on a test of semantic judgment. Finally, despite the aphasic subjects' below normal production of associated word pairs on sentence generation, when nouns associated with the target verbs were included in the sentences, performance was less anomalous for each subject. These findings are used to explore how a network of lexical associates might facilitate sentence processing.
Jumping around and leaving things out: A profile of the narrative abilities of children with specific language impairment
Authors: Miranda A. Elisabeth , McCabe Allyssa , Bliss Lynn S.
Published: December 2008

This article investigates the discourse coherence of school-aged children with specific language impairment (SLI). The following dimensions of discourse are analyzed: topic maintenance, event sequencing, explicitness (including referencing), conjunctive cohesion, and fluency. The personal narratives of the children in the experimental group were compared with those produced by two groups of children with normal language development, one group matched by chronological age and the other matched by language level. The narratives of the children with SLI were significantly impaired compared with both control groups with respect to all five dimensions of narration, although impairment was far more pronounced for topic maintenance, event sequencing, and implicitness than it was for conjunctive cohesion or fluency. The former serious impairments place a heavy burden on listeners. Theoretical and clinical implications of the results are discussed.
Word reading in Spanish: A comparison between skilled and less skilled beginning readers
Authors: Signorini Angela
Published: December 2008

The purpose of this study was to investigate word reading abilities in first and third grade Spanish-speaking children who were learning to read in Spanish; the performance of skilled and less skilled readers was compared across measures that assessed phonological recoding ability, knowledge of grapheme-phoneme correspondences, and phonemic awareness. The findings suggest that Spanish-speaking children relied on phonological recoding strategies in the process of becoming readers. First grade, less skilled readers seemed to depend on partial letter-sound knowledge. Furthermore, spelling-sound correspondences appeared to be the main source of information used by first grade, skilled readers and third grade, less skilled readers. The latter seemed to lag behind skilled readers in the use of word-specific information. The phonemic awareness tasks displayed moderate to low correlations with reading ability in the less skilled groups. It is argued that the simple phonological structure of Spanish and its shallow orthography lead to the phonological processing of letter strings during reading acquisition.
Phonetic skills and vocabulary size in late talkers: Concurrent and predictive relationships
Authors: Mirak Jennifer , Rescorla Leslie
Published: December 2008

Phonetic skills and vocabulary size were investigated in 37 toddlers (24 to 31 months) identified with specific expressive language impairment and 20 comparison toddlers matched on age, SES, and nonverbal ability. The use of consonants was highly consistent across two contexts: 20 minutes of structured testing and 5 minutes of free play. The comparison children produced almost triple the number of consonant types and five times as many consonant tokens as the late talkers. However, the most frequently present consonants were similar across groups, indicating delayed rather than deviant phonetic development in the late talkers. The late talkers used a much higher proportion of their consonants in initial position than did the normally developing toddlers. Consonant types and tokens were significantly related to reported vocabulary size on Rescorla's (1989) Language Development Survey. No significant predictive relationship was found between either phonetic repertoire or vocabulary size at intake and age 3 language outcome. However, age 3 MLU and IPSyn scores were significantly predicted by age-normed severity of expressive delay at intake (Reynell Expressive z score), with more delayed children showing poorer outcomes.
Assessing the development of automaticity in second language word recognition
Authors: Segalowitz Sidney J. , Segalowitz Norman S. , Wood Anthony G.
Published: December 2008

This study investigated the development of automaticity in second language word recognition. In an earlier study (Segalowitz & Segalowitz, 1993) we demonstrated that a reduction in the coefficient of variation of lexical decision reaction time (CVRT) - the standard deviation of reaction time divided by mean reaction time (RT) - reflects a restructuring of underlying cognitive processing mechanisms in the direction of increased automaticity and not a simple speed-up of those mechanisms. In the current study, English speakers studying French performed multiple lexical decision tasks. Differences in CVRTwere compared cross-sectionally and longitudinally. As in the earlier study, crosssectional analyses showed that CVRTcorrelated positively with RT for initially fast, but not initially slow, responders. CVRTalso correlated positively with RT in longitudinal analyses. These results confirm that, with extended learning experience, the cognitive components underlying word recognition are restructured (automatized) and not simply speeded-up.
The relationship between bilingualism and the development of cognitive processes in problem solving
Authors: Bialystok Ellen , Majumder Shilpi
Published: December 2008

This study examined the effects of differing degrees of bilingualism on the nonverbal problemsolving abilities of children in grade 3. Three linguistic groups were compared on problem-solving tasks designed to measure control of attention or analysis of knowledge, processes previously shown to develop differently in monolingual and bilingual children solving linguistic problems (Bialystok, 1988). In this study, an English-speaking monolingual group was compared with a French–English bilingual group and a Bengali-English bilingual group. All of the children in the study were similar except for their language background. Tests of language proficiency confirmed that the French-English subjects were balanced bilinguals and that the Bengali-English subjects were partial bilinguals. The balanced French–English bilinguals showed better performance on the non-linguistic tasks requiring control of attention than both the partial bilingual group and the monolingual group. There were no differences found between the groups on the non-linguistic task requiring analysis of representational structures. These results indicate that balanced bilinguals carry over their linguistic advantage in control of attention into the non-linguistic domain.
The development of word recognition in a second language
Authors: Muljani D. , Koda Keiko , Moates Danny R.
Published: December 2008

Do differences among first languages (LI) affect word recognition in reading a second language (L2)? Participants in this study had either Indonesian (an alphabetic language) or Chinese (a logographic language) as an L1 and were learning English (an alphabetic language) as an L2. Under the connectionist rubric, it was predicted that an alphabetic LI would facilitate word recognition in an alphabetic L2, especially if the LI and L2 have similar spelling patterns. Facilitation is relative to a logographic LI. The model also predicted a better recognition for high-frequency words in the L2 relative to low-frequency words. The results of a lexical decision task largely confirmed these hypotheses.
Phonological abilities of Brazilian street poets
Authors: Roazzi Antonio , Dowker Ann , Bryant Peter
Published: December 2008

This study deals with repentistas: oral poets in the northeast of Brazil, most of whom have had limited schooling. Twenty-four repentistas, 27 non-repentistas from a similar background, and 38 university students were given a rhyme production task. The repentistas produced about three times as many rhymes as the SES-matched non-repentistas and over one-and-a-half times as many as the students. They did not, however, differ significantly from the nonrepentistas or students in regard to auditory memory or phonological segmentation; they were similar to non-repentistas and considerably worse than students on tests of IQ and reading speed. Thus, the rhyming ability of the repentistas appears to be both highly developed and dissociated from certain other language skills.
Gestural communication in oral deaf mother-child pairs: Language with a helping hand?
Authors: Villiers Jill De , Bibeau Lynne , Ramos Eliane , Gatty Janice
Published: December 2008

This article reports a longitudinal study of developing communication in two profoundly deaf preschool boys growing up in oral deaf families who use oral English as their primary language. The children were videotaped in play interactions with their profoundly deaf mothers. The nature of the gestural communication used by the dyads is the focus of interest in this article. In contrast to hearing mothers of deaf children, the two mothers used extensive gestures to accompany their speech, including rich and varied gesture sequences. The children also developed a repertoire of gestures that, in most respects, mirrored the properties of the input gesture they received. The results provide a window on the natural ontogenesis of a compensatory gestural system.
Two components of metalinguistic awareness: Control of linguistic processing and analysis of linguistic knowledge
Authors: Ricciardelli Lina A.
Published: December 2008

Bialystok and Ryan's (1985a) model of metalinguistic awareness, which consists of two processing components (the control of linguistic processing and the analysis of linguistic knowledge), was investigated in children between the ages of 5 and 7 years. Each of the two components was assessed by four metalinguistic tasks. The results were consistent with Bialystok and Ryan's model in that confirmatory factor analysis, using LISREL, supported both the control of linguistic processing and the analysis of linguistic knowledge. Support for the first component was stronger than for the second; however, this may have been due to the problems encountered with two of the tasks. The results further suggested that the two components of metalinguistic awareness are interrelated, as their correlation was moderately high.
A longitudinal study of the effects of syllabic structure on the development of reading and spelling skills in French
Authors: Sprenger-Charolles Liliane , Siegel Linda S.
Published: December 2008

The central hypothesis of this study was that phonological mediation plays a critical role in the early development of reading and spelling in French. Therefore, the phonological structure of items, as opposed to their visual characteristics, was expected to be a significant determinant of performance. This hypothesis was tested in a short-term longitudinal study with a group of first graders (N = 57) who were administered a reading and a spelling task involving pseudowords of different syllabic structures. The first prediction was that there would be better performance on pseudowords with a simple structure (CVCVCV) than on pseudowords with a complex structure (CCVCVC or CVCCVC), and that errors on syllables with a complex structure would involve the deletion of codas or the simplification of complex onsets. We also predicted that errors would be consistent with a sonority hierarchy; for example, we expected more deletions of liquids than obstruents in clusters.
A newly discovered Trecento fragment: scribal concordances in late-medieval Florentine manuscripts
Authors: Fabbri Mario , Nádas John
Published: December 2008

Another fragment can now be added to the list of manuscripts of fourteenth-century secular Italian polyphony. The new source (henceforth called Fn F.5.5) comprises two leaves, and at present serves as guard-sheets at the front and back of an incunabulum in Florence, Biblioteca Nazionale Centrale, with the call-number Incunab. F.5.5. This fifteenth-century book is a copy of the monumental historical accounts by Flavius Josephus of early Jewish history – a compendium that includes the De bello judaico, De antiquitate judaica contra Apionem and Antiquitates judaicae – translated from Greek into Latin by Ruffino d'Aquileia (Rufinus Aquileiensis) and published in Venice by Rinaldo da Nimega in 1981.
New evidence for the biographies of Andrea and Giovanni Gabrieli
Authors: Morell Martin
Published: December 2008

Andrea and Giovanni Gabrieli are regarded as the great luminaries of the Venetian school of the second half of the sixteenth century. Although both uncle and nephew were employed at St Mark's as organists, rather than in the nominally more prestigious capacity ofmaestro di cappella, they contributed powerfully to the development of Venetian music, both sacred and secular, vocal and instrumental. In addition, their profound influence on later Venetian and German composers has long been acknowledged.
European Knowledge of Arabic Texts Referring to Music: Some New Material
Authors: Burnett Charles
Published: December 2008

The literature on the problem of Arabic influence on the music and poetry of western Europe in the Middle Ages is vast. The aim of this article is modest. It seeks to draw together some passages on music and musical instruments in Arabic texts that were translated into Latin in the Middle Ages. These texts were not specifically on music, and may have escaped the notice of musicologists for that reason. However, they are interesting in their own right, for they show the role of music in other contexts, such as medicinie, astrology and philolsophy, and exemplify the modifications that took place when texts were transferred from one culture to another.
New sources of English fifteenth- and sixteenth-century polyphony
Authors: Bowers Roger , Wathey Andrew
Published: December 2008

This article presents descriptions of four newly discovered sources of English late-medieval polyphony. Three concern music for the celebration of Mass; the fourth expands the known repertory of Latin and vernacular carols.
The fourth-century origin of the gradual
Authors: McKinnon James W.
Published: December 2008

The conventional view on the origin of the gradual was stated succinctly by Peter Wagner: ‘The Responsorial solo in the mass is of apostolic origin…in imitation of the Jewish liturgy a solo from the psalmist was inserted between the readings.’ The precise form this view has taken more recently in the works of both musical and liturgical historians can be summarised as follows. The early Mass or Eucharist consisted of two major parts. The essential part, the Eucharist proper, had its origins in the Last Supper, a Jewish ceremonial meal, possibly the Passover Seder. This was preceded by a ‘service of the Word’, made up of four elements: scripture reading, discourse on the reading, congregational prayer and psalms sung in response to the readings. This pre-eucharistic service was plainly and simply an adoption en bloc of the ancient synagogue service.
The office of the cantor in early Western monastic rules and customaries: a preliminary investigation
Authors: Fassler Margot E.
Published: December 2008

TheRule of St Benedict(c.520) mentions a cantor only once. The celebrated twelfth-centuryLiber ordinis, a book of monastic regulations compiled at the Abbey of St Victor in Paris, requires several folios to outline all the duties of the cantor's office. During the six centuries separating these two sources, the monastic cantor had become one of the most important persons in the religious community: he supervised all aspects of music-making, he was in charge of the library and the scriptorium, and he oversaw and directed the celebration of the liturgy. Yet even though the cantor had a crucial role in the performance and transmission of medieval liturgical music, very little scholarly attention has been given to his office. This study offers some theories concerning the evolution of the cantor's office, and a description of that office during the late eleventh century, the period in which it reached its zenith. Many issues will be raised that, it is hoped, will suggest directions for further research.
Text declamation as a determinant of melodic form in the Old Roman eighth-mode tracts
Authors: Nowacki Edward
Published: December 2008

This essay presents a close examination of the Gregorian eighth-mode tracts in Old Roman transmission. Its main objective will be to show that the apparent diversity of the genre as a whole is due largely to conditioned variation, and that within subsets characterised by identical textual conditions, melodic shape is uniform, or thrifty, to a degree that is as remarkable as it is unexpected. Particular attention will be paid to the regular and, in some cases, predictable ways in which the accentuation, phrasing and syntax of the text determine melodic form. The essay will take up the subject of text expression in its classic formulation by Dominicus Johner and show how he was prevented from arriving at a satisfactory result by the very terms in which he framed the question. Finally and incidentally, some comparative observations will be made about the counterparts of the Old Roman tracts in Frankish transmission (i.e. Gregorian chant in the narrow sense) with a view to showing the aesthetic superiority of the Old Roman versions in certain respects.
On the origins of Trent 871 and 922
Authors: Wright Peter
Published: December 2008

In their pioneering study of the Trent codices, Adler and Koller divided the six manuscripts then known to them into two distinct and separate groups: a younger group, Tr88–91, which they believed to have been compiled ‘in or for Trent’ by the scribe Johannes Wiser; and an older group, Tr87 and Tr92, which they described less specifically as ‘unquestionably north Italian’ in origin. Recent findings have tended to confirm Trent as the place of origin of the former group, while at the same time indicating that the blanket description ‘north Italian’ can no longer suffice for the latter. This group comprises in effect three sources which once existed independently of each other: a principal source divided into two parts, Tr871 and Tr922, here referred to jointly as TR; and two smaller sources, Tr872 and Tr921. The few attempts that have been made to determine the individual provenances of these manuscripts rest more on informed hypothesis than hard fact, with the result that their precise origin and the reason for their association with the later codices have remained as much of a puzzle as they were when the first six manuscripts were rediscovered just over a century ago.
The peace of 1360–1369 and Anglo-French musical relations
Authors: Wathey Andrew
Published: December 2008

The Treaty of Brétigny, concluded in May 1360, inaugurated the longest period of peace between England and France that the century had yet seen. Although the English success in this agreement later turned out to be less than complete, the king and higher nobility in England could now look to the consolidation of their position in the overseas dependencies of Brittany, Gascony and Ponthieu, to the enjoyment of their new-found wealth at home, and to a superficially more amicable relationship with French magnates. External relations were thus transformed, and the period between 1360 and 1369 also saw a fundamental change in the accessibility in England of French musical culture and in the opportunities for contacts with French musicians.
Machaut's motet 15 and theRoman de la rose: the literary context ofAmours qui a le pouoir/Faus Samblant m'a deceü/Vidi Dominum
Authors: Brownlee Kevin
Published: December 2008

Guillaume de Machaut's motet no. 15 is structured, from a literary point of view, around an opposition fundamental to the late medieval courtly tradition: that between two key personification characters, Amours and Faux Semblant. This opposition is introduced as the first words of the triplum (‘Amours qui a le pouoir’) are sung against those of the motetus (‘Faus Samblant m'a deceü’).
Deception, exegesis and sounding number in Machaut's motet 15
Authors: Bent Margaret
Published: December 2008

Kevin Brownlee's essay is a welcome addition to current studies that apply literary, textual and historical insights to fourteenth-century motets. The opportunity to comment on his paper before publication stimulated these observations; he graciously agreed that I should offer them as a coda.
Petrus de Domarto'sMissa Spiritus almusand the early history of the four-voice mass in the fifteenth century
Authors: Wegman Rob C.
Published: December 2008

In 1449, the records of the church of Our Lady at Antwerp mention a new singer, Petrus de Domaro (see Figure 1). He does not reappear in the accounts of 1450, and those of the subsequent years are all lost. Musical sources and treatises from the 1460s to 80s call him, with remarkable consistency, P[etrus] de Domarto, and reveal that he was an internationally famous composer in the third quarter of the fifteenth century.
The Style of Walter Frye and an anonymous mass in Brussels, Koninklijke Bibliotheek, manuscript 5557
Authors: Kirkman Andrew
Published: December 2008

The Brussels manuscript 5557 is one of the most important sources of the later fifteenth century. Not only is it the one northern manuscript from the period to have survived largely intact, but it was apparently compiled for the chapel of no less a magnate than Charles the Bold, Duke of Burgundy. Presiding over one of the most opulent courts of Europe, Charles was more than just a great patron of the arts: he was an active composer himself. The sophisticated taste of his establishment is reflected in the extraordinary quality of the music in the Brussels manuscript: great masses by Dufay and Regis rub shoulders with most of the surviving motets of Charles's great employee, Antoine Busnoys, while the original nucleus of the manuscript boasts a clutch of English masses rivalled only by that in Trent 93/90.
Music in French Theatre of the Late Sixteenth Century
Authors: Dobbins Frank
Published: December 2008

In his first major published monograph, Music in the French Secular Theater, 1400–1550 (Cambridge, MA, 1963), Howard Mayer Brown skilfully plotted the development of musical practices in the traditions of farces, sotties, moralities and monologues until the middle of the sixteenth century, by which time the ‘influence of works from the ancient world and from Italy’ had turned the ‘current of educated opinion … against the older French forms’. Thus he chose to terminate his study just as the new forms of neo-classical comedy, tragedy, tragicomedy and pastorale were emerging, although he did allude fleetingly to the Protestant dramas of Louis des Masures in citing one of three cantiques from the Bergerie spirituelle (Geneva, 1566) as one of his two examples of ‘new music for the stage’. Des Masures's play is only one of a number of dramatic or quasi-dramatic pieces published with music as well as spoken text during the period 1550–1600, reflecting a fashion for new music specifically composed for the theatre. In the present paper I propose to examine this considerable repertory, which has largely escaped the attention of modern scholars.
The Arts Conjoined: a Context for the Study of Music
Authors: McGowan Margaret M.
Published: December 2008

The conditions of artistic production in late sixteenth-century France required musicians and poets, composers and painters, choreographers and performers to work together. They shared the same objectives and they worked from the same aesthetic principles. Their common experience suggests that, as historians and analysts, we can enlighten the study of one art form – music or the dance, for example – by placing it within the context of others, assessing their interaction and their shared purpose. If this assumption is accepted we must consider issues of production, that is those practical matters concerning technique and the varied conditions of performance; we must examine the audience's expectations of those events which drew together the arts into a single spectacle or in a sequence of festivals and which relied for their inspiration on intellectual currents nourished through renewed acquaintance with ancient sources; and we need to assess the nature of the works themselves, their impact on the status of the artist (broadly defined), and on the social and political benefit for the patrons. There is inevitably much overlap across these three areas of production, expectation and outcomes, yet, in the discussion which follows, attempts will be made to keep them separate.
Ronsard, Belleau and Renvoisy
Authors: O'Brien John
Published: December 2008

Howard Mayer Brown's stimulating paper pays greatest attention to the centrality of Ronsard as thefons et origofor musical settings. One often has the impression, reading the paper, that there was no substantial problem of imitation in these settings: the composers simply took the words supplied by Ronsard and set them to music. In the comments which follow, I want to suggest a different approach to this question of imitation within Renaissance poetry and to ask what effect the issue of imitation itself had in the dialogue between poetry and music in mid sixteenth-century France. The focus I shall be using is theAnacreonof 1554.
Roger de Chabannes (d. 1025), cantor of St Martial, Limoges
Authors: Grier James
Published: December 2008

We know only two things with certainty about the life of Roger de Chabannes. He was a monk at the abbey of St Martial in Limoges by the year 1010, at which time he served as the teacher of his nephew, Adémar de Chabannes. And when he died, on 26 April 1025, he held the position of the abbey's cantor. Both pieces of information come to us from Adémar, monk at St Cybard in Angoulême, historian, homilist and tempestuous polemicist in the campaign to win recognition for St Martial as an apostle. Other evidence, which also may well originate from Adémar, attests to Roger's death date and office.
Confrérie, Bruderschaft and guild: the formation of musicians' fraternal organisations in thirteenth- and fourteenth-century Europe
Authors: Slocum Kay Brainerd
Published: December 2008

Professional musicians first appeared in medieval Europe during the tenth century. These jongleurs, or minstrels, earned a precarious living by travelling alone or in small groups from village to village and castle to castle, singing, playing, dancing, performing magic tricks and exhibiting trained animals. These itinerant performers were often viewed as social outcasts, and were frequently denied legal protection as well as the sacraments of the church. With the revival of the European economy and the growth of towns during the twelfth century the opportunity for more stable living conditions emerged, and the minstrels began to organise themselves into brotherhoods or confraternities, eventually developing guilds of musicians. By forming corporations and thus voluntarily placing themselves under the power of rulers or civic authorities, the musicians could achieve a modicum of social acceptance and legal protection.
Scenes from the life of Silvia Gailarti Manni, a seventeenth-centuryvirtuosa
Authors: Glixon Beth L.
Published: December 2008

During the seventeenth century, the growth of opera created the need for a large number of artists to perform in theatres throughout Italy and, increasingly, in much of Europe. The biographies of nearly all the singers who performed in Venice, the centre of opera during the middle of the century, and in other cities of Italy remain unwritten and, in most cases, unwritable. For some singers, including Giovanni Antonio Cavagna, Nicola Coresi and Vincenza Giulia Masotti, letters survive that convey something of their personalities. Yet, for the most part, we know nothing of their families and the early years of their careers, nor of their lives as performers. This article will explore several episodes in the career of the Roman singer Silvia Gailarti Manni, whose operatic appearances during three decades have been known to scholars through librettos, but whose life has never before come into focus.
Tropis semper variantibus: Compositional strategies in the offertories of Old Roman chant
Authors: Dyer Joseph
Published: December 2008

In the introduction to the second volume of the seriesMonumenta Monodica Medii Aevi, devoted in the main to a transcription of the Old Roman gradual Vat. lat. 5319, Bruno Stäblein drew up a perceptive assessment of the native Italian chant style, contrasting it with the melodic style of Gregorian chant, a repertoire considered by many scholars to be the result of a process of local ‘editing’ of the Roman chant introduced north of the Alps in the late eighth and early ninth centuries. Stäblein quoted a remark about the singing of ‘alleluia’ from Cassiodorus' commentary on Psalm 104: ‘The tongues of cantors are adorned with [alleluia], and the Lord's basilica joyfully responds with it. Innovations are always being introduced to it with varying tropes’ (tropis semper variantibus innovatur).
Music, identity and the Inquisition in fifteenth-century Spain
Authors: Gutwirth Eleazar
Published: December 2008

Sometime between the years 1330 and 1343, Juan Ruiz, Archpriest of Hita in Castile, included this maxim in his literary masterpiece, the Libro de buen amor. This verse, like others in the poem, attributes an ethnic identity both to objects and to vocal music, a form of ethnic marking that has been preserved in Spanish culture by linguistic usage: the Arabic particle a[1] in the prefix to words for musical instruments such as adufe (square tambourine), ajabeba (transverse flute) or anafil (a straight trumpet four feet or more in length) is a possible reminder of this phenomenon. About a century later, the chronicler Alonso de Palencia (d. 1492) applied similar ethnic markings when speaking of the music of a young Castilian converso who was to become one of the most powerful courtiers of King Enrique IV, Diego Arias Dávila: ‘per rura segobiensia…cantibusque arabicis advocabat sibi coetu rusticorum’.
Musical aspects of Old Testament canticles in their biblical setting
Authors: Smith John Arthur
Published: December 2008

The Hebrew Old Testament contains, besides prose narratives and laws, a considerable amount of poetry. The books of Lamentations, Proverbs and Psalms and the Song of Solomon, together with the prophetic oracles that make up the books of Amos, Habakkuk, Joel, Micah, Nahum, Obadiah and Zephaniah, consist entirely, or almost entirely, of poetry. In several other books, especially Job and the books of the prophets Haggai, Isaiah and Jeremiah, poetry predominates, while in the books of history and law, although prose predominates, poetry is never entirely absent, brief though its manifestations sometimes are. The vast majority of the poetry is sacred, as would be expected from texts that occur within religious writings. The relatively small amount of profane poetry consists of a handful of short examples and the Song of Solomon.
Du Fay the poet? Problems in the texts of his motets
Authors: Holford-Strevens Leofranc
Published: December 2008

The following observations make no claim to either profundity or finality, but attempt to improve on the texts and translations currently available, to comment on their metres (some rudimentary information being given in Appendix A), and to offer a few conjectures concerning authorship. This last question has interested Du Fay scholars, who generally allow him to be the author at least ofSalve flos/Vos nunc: whereas Laurenz Liitteken denies him all else, David Fallows writes that ‘Some at least of his song and motet texts are likely to be by him’, singling outSalve jlosfor the first-person reference at the end of the motetus; Alejandro Enrique Planchart, having pointed out that Du Fay's literary talent in Latin was recognised at school with a copy of Alexandre de Villedieu'sDoctrinale, would give him some others as well. In principle, a composer may write his own text, like Machaut; or collaborate with a poet, as Du Fay evidently did with Périnet inCe moys de may, and one Nicholas with one William inArgi vices; or be given a text to set by a patron or employer, as when Du Fay was sent texts from Naples on the fall of Constantinople, presumably including0 tres piteulx, de tout espoir fontaine(OOvi, no. 10).
A mirror of monarchy: Music and musicians in the household chapel of the Lady Margaret Beaufort, mother of Henry VII
Authors: Kisby Fiona
Published: December 2008

Ever since the publication of Frank Harrison's book Music in Medieval Britain in 1958, the study of the cultivation of liturgical music in late-medieval England has been based on the institutional structure of the Church: on the cathedrals, colleges and parish churches, and on the household chapels of the monarchy and higher nobility both spiritual and lay. In that and most subsequent studies, however, male figures have been seen to dominate the establishments under investigation. If art history (perhaps musicology's closest sister discipline) can be shown to have characterised the patronage of Renaissance art as a system dominated by ‘Big Men’, so too has musicology placed the development of English liturgical music in a culture shaped largely by noble male patrons – kings, princes, dukes, earls, archbishops, bishops and the like.
Songs and society in early Tudor London
Authors: Milsom John
Published: December 2008

Looking back over the past half century of research into the music of early Tudor England, it is clear that interest has been focussed principally upon sites of wealth, privilege and power. Dominating the arena are courts and household chapels, cathedrals and colleges, and the men and women who headed them. Perhaps that focus has been inevitable, since by their very nature wealthy and powerful institutions have the means to leave behind them rich deposits of evidence: not only high-art music, itself often notated in fine books, but also detailed records of expenditure, of the contractual duties carried out by or expected of musicians, and of valuable assets such as books and musical instruments. Moreover, where magnificence is on show there will often be eyewitness accounts to report on what has been seen and heard. All of those forms of evidence survive in quantity from early Tudor England, and it is hard not to be drawn to them.
The sources and significance of the Orpheus myth inMusica Enchiriadisand Regino of Prüm'sEpistola de harmonica institutione
Authors: Boynton Susan
Published: December 2008

Throughout history, the myth of Orpheus and Eurydice has taken on the connotations of its specific cultural contexts. Interpreters of the myth have invested the figure of Orpheus with symbolism to suit their own rhetorical purposes. Each retelling has emphasised certain elements of the myth to make it conform to the intended meaning. In all accounts of the story, Orpheus is a musician who charms animals and inanimate objects with his song. In the fifth century B.C., the death of his wife, Eurydice, and his attempt to rescue her from the underworld became part of the mythographic tradition. According to the best-known version of this story, Orpheus persuades the inhabitants of the underworld to return Eurydice to him, but then loses her when he looks back at her, violating the rule imposed by the underworld.
Fortune's demesne: the interrelation of text and music in Machaut'sIl mest avis(B22),De fortune(B23) and two related anonymous balades
Authors: Leach Elizabeth Eva
Published: December 2008

Machaut's baladesIl mest avis(hereafter B22) andDe fortune(hereafter B23), adjacent in the music section of the Machaut manuscripts, form a diptych on the theme of Fortune. In relation to each other, their poetic texts offer complementary perspectives on the power of Fortune: B22 is static, detached in tone, a clerk commentating in a public sententious statement upon the political manifestations of Fortune; conversely, B23 is personal and dynamic, a spurned lady's personal testimony to the power of Fortune to change happiness into sorrow. Despite these contrasts, the two poems share a diction markedly different from that of the twenty-one balades that precede them in the music section.
Johannes de Garlandia onorganum in speciali
Authors: Roesner Edward H.
Published: December 2008

The extraordinary dissemination of the Parisian repertory, resulting in its establishment in the thirteenth century as a kind of ‘Classical’ style (and later as an ars antiqua), was greatly abetted – if not made possible in the fist place – by what may have been an exclusively written mode of transmission. This is apparently the earliest body of polyphony to have been conceived, preserved and circulated entirely in writing. Equally important for the impact of the music of Paris, however, is the fact that it spawned a didactic tradition. It provided the foundation for a group of treatises that were the first to elucidate an already existing polyphonic repertory. Rather than instructing the singer how to generate polyphonic embellishments of plainchantex tempore, these theoretical texts provided him with the information he needed to transform the written symbols in the manuscript before him into sounding music consistent with the intentions of the composer (or, at least, of the scribe), and they offered guidance to theorganistawishing to create other works in a similar idiom. To be sure, these treaties did not transmit the Paris style intact.
Notker der Deutsche zur Mensurberechnung der Orgelpfeifen
Authors: King James C.
Published: December 2008

Notker's short five-section treatise De musica was written exclusively in Old High German, except for the retention of technical terms in Latin and pseudo-Greek, with De mensura fistularum organicarum being the last. In De musica Notker abandoned his practice of giving the Latin text before each part of the German translation, for the discourse was no doubt intended as a manual for organ builders, of whom Latin could not be required. In this study relevant passages from the Latin texts alternate with Notker's translation. Then the four manuscripts preserving the fifth section in full or in part are compared in their fidelity to Notker's accentuation and allophones of initial consonants. Finally, the twelve terms retained in Latin and pseudo-Greek are enumerated.
Was Tristrams saga the Structural Model for Egils saga?
Authors: Schach Paul
Published: December 2008

On the basis of certain compositional features introduced into the Tristan story by Thomas of Brittany, it has been established that the many Tristan reminiscences in Old Norse literature stem fromTristrams saga(Schach 1965). In this paper it will be argued thatTristrams sagaprovided the structural model forEgils saga.
An analytic dictionary of English etymology
Authors: Liberman Anatoly , Mitchell J. Lawrence
Published: December 2008

Several years ago we started work on a new etymological dictionary of the English language and published a short announcement of our plans (Liberman and Mitchell 1988). Now the contours of the dictionary have become clear enough for us to begin writing our first entries and to introduce our project to a wider range of scholars.