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Making (Theoretical) Sense of Philippe de Vitry's Tuba/In arboris

Making (Theoretical) Sense of Philippe de Vitry's Tuba/In arboris
80 Queen's Park, Edward Johnson Building, Room 130, Faculty of Music
Time: Oct 13th, 3:30 pm End: Oct 13th, 5:30 pm
Interest Categories: Music, Faculty of , 2000-
Talk by Anna Zayaruznaya (Yale Univerity)

The Faculty of Music presents Graduate Colloquium Series in Musicology/Ethnomusicology/Music Theory

Making (Theoretical) Sense of Philippe de Vitry's Tuba/In arboris

The upper-voice texts of Philippe de Vitry's Tuba/In arboris pit Faith and Reason against each other, depicting a cartoonish demise for
Reason as a warning that only Faith will lead to eternal life or to any real kind of understanding. That an "isorhythmic" motet-that
ostensibly most rational of genres-should present an argument about the fallibility of ratio may come as something of a surprise, as may
the fact that the well-educated Vitry would declare Reason to be powerless. But the motet's structure and notation have their own
stance vis-à-vis Reason, using red notes in a way that-it will be argued-was unprecedented at the time, and indeed went against the
internal logic of the notational system. Yet by the time Tuba/In arbois came to be cited in the ars nova complex of treatises, it was
to exemplify a normative notational practice. The motet and the theoretical discourse around it serve as a fruitful case-study about
the ways in which works that push against the boundaries are integrated into a theoretical discourse that expands to make room for
them while attempting to remain rational.

Dr. Anna Zayaruznaya is Assistant Professor of Musicology at Yale University. Before coming to Yale in 2013, she taught at New York University (2010-2011) and Princeton University (2011-2013). Bringing the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas, Zayaruznaya's recent papers and publications have focused on French and northern Italian music of the fourteenth and fifteenth centuries. Her first book, which appeared from Cambridge University Press in 2015, is titled The Monstrous New Art: Divided Forms in the Late Medieval Motet.

The event begins at 3:30 pm in Room 130 of the Edward Johnson Building, and will be followed by a casual reception of wine,
non-alcoholic drinks and snacks.

This event is free and open to all. Registration is not required. For more information, please contact the Faculty of Music at 416.978.3750

 


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