Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Hugh Primas of Orléans


(b ?Orléans, c1095; d ? after 1160). ?French poet. He was renowned for his writings and became known as ‘Primas’ because he surpassed his contemporaries. In addition to a few individual works, a collection of 23 Latin poems survives (GB-Ob Rawl.G 109, ff.3–30): it consists of learned pieces on classical themes as well as poems of fulsome praise or trenchant abuse. No melodies have survived for any of his works, but they certainly had a profound influence on lyric poetico-musical activity during the 12th and 13th centuries, and their style is mirrored in several Notre Dame conductus poems.

BIBLIOGRAPHY


L. Delisle: ‘Le poète Primat’, Bibliothèque de l'Ecole des Chartes, xxxi (1871), 302–11

W. Meyer: ‘Die Oxforder Gedichte des Primas, Magister Hugo von Orleans’, Nachrichten der kgl. Gesellschaft der Wissenschaften zu Göttingen, phil.-hist. Klasse (1907), 75–111, 113–75

J.H. Hanford: ‘The Progenitors of Golias’, Speculum, i (1926), 38–58

F.J.E. Raby: A History of Secular Latin Poetry in the Middle Ages, ii (Oxford, 1934, 2/1957), 171–80

C. Witke: Latin Satire: the Structure of Persuasion (Leiden, 1970), 200–32

J.B. Bauer: ‘Stola und Tapetum: zur den Oxforder Gedichte des Primas’, Mittellateinisches Jb, xvii (1982), 130–33

C.J. McDonough: The Oxford Poems of Hugh Primas and the Arundel Lyrics (Toronto, 1984)

C.J. McDonough: ‘A Poetic Glosula on Amiens, Reims and Peter Abelard’, Speculum, lxi (1986), 806–35

A.G. Rigg: ‘Golias and Other Pseudonyms’, Studi medievali, 3rd ser., xxviii (1987), 65–109

F. Adcock, ed. and trans.: Hugh Primas and the Archpoet (Cambridge, 1994)

GORDON A. ANDERSON/THOMAS B. PAYNE


Hugill, Stan


(b Hoylake, Cheshire, 19 Nov 1906; d Aberystwyth, 13 May 1992). British traditional singer. Hugill was the last British shantyman and a leading authority on sailors’ songs and their contexts, as well as ships and their workings (see Shanty). With his pigtail, tattooed hands, hawk eyes, beard and curly pipe, he looked the part of an archetypal seaman of the great days of sail. Hugill followed in the tradition of his father and grandfather by going to sea at 14 years old. He traded around the Pacific and Caribbean islands for the next ten years where he learnt hundreds of work songs from old shantymen and whalers. Following the publication of his seminal collection Shanties from the Seven Seas in 1961, Hugill was ‘discovered’ by musicians, singers and audiences of the British Folk Music Revival (see England, §II). Unlike library-informed neo-traditionalist shantymen, Hugill’s repertory of over 400 shanties was learnt in traditional contexts. He became a much loved figure both as singer and lecturer at folk clubs, festivals, and nautical conventions throughout Europe and America.

WRITINGS


Shanties from the Seven Seas (London, 1961, 2/1984)

Sailortown (London, 1967)

Songs of the Sea (New York, 1977)

recordings


Aboard the Cutty Sark, perf. Stan Hugill, Greenwich Village Records GVRX 207 (1979)

Stan Hugill Reminisces – Shanties and Stories of Life under Sail, perf. Stan Hugill, Greenwich Village Records GVR 217 (1979)

DAVE ARTHUR


Huglo, Michel


(b Lille, 14 Dec 1921). French musicologist. He studied philosophy and theology at Solesmes (1941–7) and lived at the Abbey of St Pierre until 1960. After working for 11 years on Paléographie musicale (1949–60) he was appointed chargé de recherche (1962) and then directeur de recherche (1972) at the CNRS. In 1969 he received the doctorat de 3ème cycle from the Sorbonne with a work on tonaries. He was responsible for the musicology conferences at the Ecole Pratique des Hautes Etudes de la Sorbonne (1973–86) and the medieval musicology courses at the Free University of Brussels (1974–87), and was founding director of the musicology section at the Institut de Recherche et d’Histoire des Textes in Paris (1976–86). He was guest professor of musicology at the University of Vienna (1990), Visiting Mellon Professor at Princeton University (1990–91) and visiting professor at New York University (1993). As a specialist in musical palaeography he has concentrated on the theoretical and musical manuscripts concerning medieval monophony and the beginnings of organum; and his experience of the repertory, coupled with his scholarly ability, has produced valuable contributions to this relatively unknown field. He gained the doctorat d’Etat from the University of Paris X in 1981, and received the CNRS silver medal for research in 1987 and the honorary doctorate from the University of Chicago in 1991. In 1997 he was elected corresponding member of the AMS.

WRITINGS


‘Die Adventsgesänge nach den Fragmenten von Lucca (8.Jh)’, KJb, xxxv (1951), 10–15

‘L’ancienne version latine de l’hymne acathiste’, Le Muséon, lxiv (1951), 27–61



with J. Hourlier: ‘Un important témoin du chant “vieux-romain”: le graduel de Ste Cécile du Transtévère (ms. Phillipps 16069)’, Revue grégorienne, xxxi (1952), 26–37

‘Un tonaire du Graduel de la fin du VIIIe siècle (Bibliothèque Nationale lat.13159)’, Revue grégorienne, xxxi (1952), 176–86, 224–33

‘L’auteur de l’Exultet pascal’, Vigiliae christianae, vii (1953), 79–88

‘Le chant “vieux-romain”: manuscrits et témoins indirects’, Sacris erudiri, vi (1954), 96–124

‘Les noms des neumes et leur origine’, EG, i (1954), 53–67

‘Les “Preces” des graduels aquitains empruntées à la liturgie hispanique’, Hispania sacra, viii (1955), 361–83



ed., with others: Fonti e paleografia del canto ambrosiano, Archivio ambrosiano, vii (Milan, 1956)

‘Le tonaire de Saint Bénigne de Dijon (Montpellier H.159)’, AnnM, iv (1956), 7–18

‘Notice des manuscrits’, ‘Liste des “Scriptores”’, ‘Bibliographie’, Le graduel romain, ed. Benedictines of Solesmes, ii (Solesmes, 1957), 24–157, 197–203, 210–29

‘Un nouveau prosaire nivernais (Paris, B.N. nouv. acq. lat.3126)’, Ephemerides liturgicae, lxxi (1957), 3–30

‘Trois anciens manuscrits liturgiques d’Auvergne’, Bulletin historique et scientifique de l’Auvergne, lxxvii (1957), 81–104

‘La chironomie médiévale’, RdM, xlix (1963), 155–71

‘Le domaine de la notation bretonne’, AcM, xxxv (1963), 54–84

‘A propos du “Requiem” de Du Caurroy’, RdM, li (1965), 201–6

‘Les chants de la Missa greca de Saint Denis’, Essays presented to Egon Wellesz, ed. J. Westrup (Oxford, 1966), 74–83

‘Relations musicales entre Byzance et l’Occident’, Byzantine Studies XIII: Oxford 1966, 267–80

‘Règlement du XIIIe siècle pour la transcription des livres notés’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 121–33

‘L’auteur du “Dialogue sur la Musique” attribué à Odon’, RdM, lv (1969), 119–71; repr. in The Garland Library of the History of Western Music, i: Monophony, ed. E. Rosand (New York, 1985), 95–148



Les tonaires: inventaires, analyse, comparaison (diss., U. of Paris, 1969; Paris, 1971)

‘Les listes alléluiatiques dans les témoins du Graduel grégorien’, Speculum musicae artis: Festgabe für Heinrich Husmann, ed. H. Becker and R. Gerlach (Munich, 1970), 219–27

‘Der Prolog des Odo zugeschrieben “Dialogus in Musica”’, AMw, xxviii (1971), 134–46

‘L’introduction en Occident des formules byzantines d’intonation’, Studies in Eastern Chant, ed. E. Wellesz, iii (Oxford, 1973), 81–90

‘Tradition orale et tradition écrite dans la transmission des mélodies grégoriennes’, Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag, ed. H.H. Eggebrecht and M. Lütolf (Munich, 1973), 31–42

‘Le graduel palimpseste de Plaisance (Paris, B.N. lat. 7102)’, Scriptorium, xxviii (1974), 3–31

‘Il manoscritto 1136 della Biblioteca Oliveriano di Pesaro’, RIM, ix (1974), 20–36

‘Le développement du vocabulaire de l’Ars musica à l’époque carolingienne’, Latomus, xxxiv (1975), 131–51

‘Les instruments de musique chez Hucbald’, Mélanges à la mémoire d’André Boutemy, ed. G. Cambier (Brussels, 1976), 173–96

‘L'auteur du traité de musique dédié à Fulgence d'Affligem’, RBM, xxxi (1977), 5–19

‘Les livres liturgiques de la Chaise-Dieu’, Revue bénédictine, lxxxvii (1977), 62–96, 289–348

‘Les remaniements de l'antiphonaire grégorien au IXe siècle: Hélisachar, Agobard, Amalaire’, Culto cristiano, politica imperiale carolingia: Todi 1977, 87–120

‘Aux origines des tropes d'interpolation: le trope méloforme d'introit’, RdM, lxiv (1978), 5–54

‘Abélard, poète et musicien’, Cahiers de civilisation médiévale, xxii (1979), 349–61

‘Un nouveau manuscrit du Dialogue sur la Musique du Pseudo Odon (Troyes, Bibl. mun.2142’, Revue d’histoire des textes, vii (1979), 299–314

‘Les origines del l'organum vocal en France et en Italie d'après les données de l'ethnomusicologie et d'après les sources historiques’, Le polifonie primitive in Friuli e in Europa: Cividale del Friuli 1980, 355–65

‘De Francon de Cologne à Jacques de Liège’, RBM, xxxiv–xxxv (1980–81), 44–60

‘Les débuts de la polyphonie à Paris: les premiers organa parisiens’, Forum musicologicum, iii (1982), 93–163

‘Le répons-graduel de la messe: evolution de la forme: permanence de la fonction’, Schweizer Jb für Musikwissenschaft, new ser., ii (1982), 53–77

‘La tradition musicale aquitaine: repertoire et notation’, Liturgie et musique (IXe–XIVe s.), Cahiers de Fanjeaux, xvii (Toulouse, 1982), 253–68

‘L'ancien chant bénéventain’, Ecclesia orans, ii (1985), 265–93; Eng. trans. in SMH, xxvii (1985), 83–95

with N. Phillips: ‘Le “De Musica” de Saint Augustin et l'organisation de la durée musicale du IXe au XIIe siècles’, Recherches augustiniennes, xx (1985), 117–31

ed., with C. Meyer: The Theory of Music, iii: Manuscripts from the Carolingian Era to c.1500 in the Federal Republic of Germany (D-brd), RISM, B/III/3 (1986); with N. Phillips, iv: Manuscripts from the Carolingian Era up to c.1500 in Great Britain and in the United States, ii: United States of America, RISM, B/III/4 (1992)

‘The Study of Ancient Sources of Music Theory in the Medieval University’, Music Theory and its Sources: Antiquity and the Middle Ages: Notre Dame, IN, 1987, 150–72

‘Bibliographie des éditions et études relatives à la théorie musicale du Moyen Age (1972–1987)’, AcM, lx (1988), 229–72

Les livres de chant liturgique (Turnhout, 1988)

‘Le manuscrit de la Messe de Tournai’, La messe de Tournai: une messe polyphonique en l’honneur de Notre-Dame à la Cathédrale de Tournai au XIVe siècle: étude et nouvelle transcription, ed. J. Dumoulin and others (Tournai, 1988), 9–24

‘Notice sur deux nouveaux manuscrits d'Aristote en latin (Munich, Bayerische Staatsbibliothek, Clm 14272, Baltimore MD, the George Peabody Library, Inv. 159413)’, Scriptorium, xlii (1988), 183–90

‘La place du Tractatus de Musica dans l'histoire de la théorie musicale du XIIIe siècle: étude codicologique’, Jérôme de Moravie: Royaumont 1989, 34–42

‘Trois livres manuscrits présentés par Helisachar’, Revue bénédictine, xcix (1989), 272–85

‘Deux séquences de musique instrumentale’, RdM, lxxvi (1990), 77–82

‘Le “De Musica” des Etymologies de saint Isidore de Séville d'après le manuscrit de Silos (Paris, B.N. nouv. acq. lat.2169)’, RdMc, xv (1992), 565–78

‘Observations codicologiques sur l'antiphonaire de Compiègne (Paris, B.N. lat. 17436)’, De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, ed. P. Cahn and A.-K. Heimer (Hildesheim, 1993), 117–30

‘Recherches sur les tons psalmodiques de l'ancienne liturgie hispanique’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 477–90

‘Remarks on the Alleluia and Responsory Series in the Winchester Troper’, Music in the Medieval English Liturgy, ed. S. Rankin and D. Hiley (Oxford, 1993), 47–58

‘Les diagrammes d'harmonique interpolés dans les manuscrits hispaniques de la Musica Isidori’, Scriptorium, xlviii (1994), 171–86

‘D'Hélisachar à Abbon de Fleury’, Revue bénédictine, civ (1994), 204–30

‘Du répons de l'office avec prosule au répons organisé’, Altes im Neuen: Festschrift Theodor Göllner, ed. B. Edelmann and M.H. Schmid (Tutzing, 1995), 25–36

‘Exercitia vocum’, Laborare fratres in unum: Festschrift Laszlo Dobszay, ed. J. Szendrei and D. Hiley (Hildesheim, 1995), 117–23

‘The Origin of the Monodic Chants in the Codex Calixtinus’, Essays on Medieval Music: in Honor of David G. Hughes, ed. G.M. Boone (Cambridge, MA, 1995), 195–205

‘Principes de l'ordonnance des répons organisés à Notre-Dame de Paris’, RdM, lxxxiii (1997), 81–92

‘Le contexte folklorique et musical du charivari dans le Roman de Fauvel’, Fauvel Studies: Allegory, Chronicle, Music and Image, ed. M. Bent and A. Wathey (Oxford, 1998), 277–83

‘Division de la tradition monodique en deux groupes “Est” et “Oest”’, RdM, lxxxv (1999), 5–28



Les manuscrits du Processional RISM B XIV (Munich, 1999)

‘Recherche sur la personne et l’oeuvre de Francon’, AcM, lxxi (1999), 1–18

‘The Cluniac Processional of Solesmes (Bibliotheque de l'Abbaye, Reserve 28)’, ‘Opus Dei’, the Divine Office in the Late Middle Ages: a Monograph in Honor of Professor Ruth Steiner, ed. M.E. Fassler and R. Baltzer (forthcoming)

BIBLIOGRAPHY


N.C. Phillips: ‘Bibliography of the Writings of Michel Huglo (1949–1992)’, Recherches nouvelles sur les tropes liturgiques: recueil d’études, ed. W. Arlt and G. Björkvall (Stockholm, 1993), 449–62 [incl. complete list of writings]

CHRISTIANE SPIETH-WEISSENBACHER


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