Song and the art of dying

Musical Quarterly

Volumn 82, Issue 3-4, 1998, Pages 537-550

  Nosow, Robert ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0037519678     PISSN: 00274631     EISSN: None     Source Type: Journal    
DOI: 10.1093/mq/82.3-4.537     Document Type: Article

References (20)

1. For a short history of the convent, see Giuseppina Bacarelli, "Storia del monastero di Santa Maria e Brigida al Paradiso: 1392-1776," in Il 'Paradiso' in Pian di Ripoli: Studi e ricerche su un antico monastero, ed. Mina Gregori and Giuseppe Rocchi (Florence: Centro di Edifimi, 1985), 18-29
2. Richard Trexler, Public Life in Renaissance Florence (Ithaca, N.Y.: Cornell University Press, 1991), 201
3. Trexler, 198-205, discusses in detail the case of Pietro Pagolo Boscoli, executed in Florence in February 1513, as narrated by Luca Della Robbia. Della Robbia's account offers many parallels to that of Suor Costanza; both oversaw the ritual of separation on behalf of their friend
4. Sister Mary Catharine O'Connor, The Art of Dying Well: The Development of the Ars moriendi (New York: Columbia University Press, 1942), 52-55
5. For early Latin editions, see the bibliography in O'Connor, The Art of Dying Well, 134, 149, 157
6. Book of the Craft of Dying, 39
7. On the lauda manuscripts devoted to Feo Belcari see Robert Nosow, "Binchois' Songs in the Feo Belcari Manuscript," in Binchois Studies, ed. Andrew Kirkman and Dennis Slavin (Oxford: Oxford University Press, forthcoming)
8. "Amor di caritate perché m'ài ssì feruto? / Lo cor tutt'ho pattuto, et arde per amore." Jacapone da Todi, Laude, ed. Franco Mancini (Rome: Laterza, 1974), no. 89, pp. 280-89
9. Craig Wright, "Dufay at Cambrai: Discoveries and Revisions," Journal of the American Musicological Society 28 (1975): 219-20. The original leads, "pour le brifté du temps."
10. David Fallows, "Specific Information on the Ensembles for Composed Polyphony, 1400-1475," in Studies in the Performance of Late Medieval Music, ed. Stanley Boorman (Cambridge: Cambridge University Press, 1983), 126
11. See note 22
12. Haberl, Bausteine für Musikgeschichte, 121
13. David Fallows, Dufay (London: J. M. Dent, 1982), 75
14. Haberl, Bausteine für Musikgeschichte, 1:119
15. "Sitque in conspectu [Dei] / Mors eius speciosa."
16. Dufay, Opera omnia, 5:xlii
17. "Decimus effectus est: Musica extasim causat . . . [Profecit] illud philosophus in octavo Politicorum: 'Melodiae Olympi faciunt animas raptas.'" Tinctoris, Complexus, 2:172
18. "Audivi quandoque Laurentium Medicem nostrum nonnulla horum similia ad lyram canentem, furore quodam divino, ut arbitror, concitum." Marsilio Ficino, Opera omnia, 2 vols. (1576; facsimile reprint, Torino: Bottega d'Erasmo, 1959), 1:665
19. See Prose di Feo Belcari, 3:22-23
20. "Vicesimus effectus musicae: Musica animas beatificat. Nulli namque dubium est homines ad compunctionem audiendo cantum induci. . . . Quaequidem Salus summa beatitudo est quam non modo, ut praediximus, qui musicam audiunt, sed et qui sciunt assequuntur." Tinctoris, Complexus, 2:177, trans. Wegman, "Tinctoris on Listening."