Composing Community in Late Medieval Music: Self-Reference, Pedagogy, and Practice

This study explores the prevalence of self-referential features in fifteenth-century music, such as ethereal polyphony and solmization puns, which break down temporal distances and humanize the lives and endeavors of musical forebears. It also examines connections between self-referential repertoire and similar self-referential creations for painters' guilds, revealing musicians' agency in forming the first communities of early modern composers.

Format: Paperback / softback
Length: 299 pages
Publication date: 19 August 2021
Publisher: Cambridge University Press

When we immerse ourselves in the melodies of fifteenth-century musicians, who employ ethereal polyphony to convey mundane grievances like money or hoarseness, a remarkable phenomenon occurs: more than half a millennium seems to vanish. Equally captivating are moments when we encounter solmization puns, those delightful wordplay that playfully exploit the similarity between syllables. These familiar concerns and surprising jests bridge the temporal divide, humanizing the lives and achievements of our musical forebears. However, it is worth noting that instances of self-reference are not limited to lighthearted pieces. They can be found even within otherwise serious compositions. Are these mere in-jokes, or are there deeper, more profound messages that we risk overlooking if we dismiss them as mere comic relief?

Jane D. Hatter, a renowned music historian, delves into the significance of these self-referential features with utmost seriousness. Her study is organized into two distinct sections, one focused on self-referential elements in the textual aspects of music, and the other on discussions of pieces that rely on musical self-referential elements. By examining the connections between self-referential repertoire from the years 1450 to 1530 and similar self-referential creations within painters' guilds, Hatter sheds light on the agency of musicians in shaping the early communities of early modern composers.

Through her meticulous research, Hatter reveals that these self-referential elements played a crucial role in establishing connections and fostering a sense of community among composers during the early modern period. The use of puns, for instance, not only added a playful and humorous touch to the music but also facilitated a deeper understanding and appreciation of the compositions. It allowed musicians to engage in witty banter, share insights, and build relationships that transcended geographical and cultural boundaries.

Furthermore, Hatter's study highlights the role of self-referential repertoire in shaping the identity and reputation of composers. By incorporating references to their own works, composers could assert their creativity, originality, and mastery of musical techniques. This not only elevated their status within the musical community but also contributed to the development of a distinct musical style that reflected their individual personalities and artistic vision.

In conclusion, Hatter's study on self-referential features in fifteenth-century music offers a fascinating insight into the rich tapestry of musical history. It demonstrates how these playful and witty elements not only enriched the musical experience but also played a vital role in shaping the communities and identities of composers during the early modern period. By examining the connections between self-referential repertoire and similar creations in other artistic domains, Hatter sheds light on the agency of musicians in creating a vibrant and dynamic musical world that continues to captivate audiences to this day.

Weight: 522g
Dimension: 168 x 243 x 22 (mm)
ISBN-13: 9781108465595