Jacopo Mazzeo
Musicologist specialised on the late Middle Ages (1100-1300).
My PhD thesis, supervised by Prof Mark Everist, is entitled ‘The Two-Part Conductus: Morphology, Dating and Authorship’. It has centred on the polyphonic conductus repertoire (c.1150-1250), focussing on issues of authorship, the structural analysis of the corpus, and the investigation of its development throughout its life-span.
I completed both my Laurea Triennale (BA, 2007) and Laurea Specialistica (MA, 2010) in Musicology at the Università di Bologna, under the supervision of Professor Cesarino Ruini. For the Laurea Triennale I investigated the relation between Troubadour lyrics and Dante’s Divina Commedia. For the Laurea Specialistica I undertook an analysis and catalogue of seven fifteenth- and sixteenth-century manuscripts from Polirone Abbey, near Mantua. In addition to my specialism in the Middle Ages, I have been carrying out research on Italian twentieth-century music under the Fascist regime.
Supervisors: Mark Everist, Stephen Rice, and Cesarino Ruini
Address: United Kingdom
My PhD thesis, supervised by Prof Mark Everist, is entitled ‘The Two-Part Conductus: Morphology, Dating and Authorship’. It has centred on the polyphonic conductus repertoire (c.1150-1250), focussing on issues of authorship, the structural analysis of the corpus, and the investigation of its development throughout its life-span.
I completed both my Laurea Triennale (BA, 2007) and Laurea Specialistica (MA, 2010) in Musicology at the Università di Bologna, under the supervision of Professor Cesarino Ruini. For the Laurea Triennale I investigated the relation between Troubadour lyrics and Dante’s Divina Commedia. For the Laurea Specialistica I undertook an analysis and catalogue of seven fifteenth- and sixteenth-century manuscripts from Polirone Abbey, near Mantua. In addition to my specialism in the Middle Ages, I have been carrying out research on Italian twentieth-century music under the Fascist regime.
Supervisors: Mark Everist, Stephen Rice, and Cesarino Ruini
Address: United Kingdom
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Articles by Jacopo Mazzeo
Teaching Documents by Jacopo Mazzeo
I need to acknowledge that a similar reconstruction – not on DIAMM – has been previously published in Daniel Leech-Wilkinson, “Jesus College, Binding Fragments from MS QB 1,” in Cambridge music manuscripts, 900-1700, ed. Iain Fenlon (Cambridge: Cambridge University Press, 1982).
Conference Presentations by Jacopo Mazzeo
This paper will discuss selected passages with the aim of casting some light on Henricus Pisanus’ musical activity, alongside the broader discussion of issues of authorship within the Notre Dame conductus repertoire.
Book Reviews by Jacopo Mazzeo
Theses by Jacopo Mazzeo
This thesis focuses on the two-part conductus. It aims at exploring the authorial and historical context in which it was created, analysing and categorising the interaction between its syllabic and melismatic sections, and describing its development over the life span of the corpus.
The conductus is introduced and presented within the broader context of music of its time. It is argued that most of the extant testimonies of conductus were subject to several stages of reworking, and a multitude of personalities are credited with the creation of the repertoire as a whole. Furthermore, the study discusses some particular cases of contested attribution and proposes new authorial identifications.
The analytical description that follows challenges the current view of the polyphonic conductus as a rigid juxtaposition of syllabic cum littera and melismatic sine littera sections. Such a sharp division does not take into account the complex structure of the syllabic cum littera music. The analytical study consequently undertaken describes all melismatic features of the two-voice conductus. Two groups of melismas are identified. The first, framing caudae, typically covers a structural role. The second, internal caudae, interacts actively with all the components of the song: text, meter, rhymes, and meaning of the poem.
The last section of this work examines the evolution of the use of melismas throughout the lifespan of the genre. The study is accomplished by building on the previous analytical investigation, diminishing ambiguities due to the relatively small sample of datable songs. The terminal cauda results being the main feature of the repertoire, initially set to all stanzas. The initial cauda was instead either set to all stanzas or not used at all. The approach to framing caudae becomes more flexible after the end of the twelfth century. Internal caudae were instead always used by conducti composers.
I need to acknowledge that a similar reconstruction – not on DIAMM – has been previously published in Daniel Leech-Wilkinson, “Jesus College, Binding Fragments from MS QB 1,” in Cambridge music manuscripts, 900-1700, ed. Iain Fenlon (Cambridge: Cambridge University Press, 1982).
This paper will discuss selected passages with the aim of casting some light on Henricus Pisanus’ musical activity, alongside the broader discussion of issues of authorship within the Notre Dame conductus repertoire.
This thesis focuses on the two-part conductus. It aims at exploring the authorial and historical context in which it was created, analysing and categorising the interaction between its syllabic and melismatic sections, and describing its development over the life span of the corpus.
The conductus is introduced and presented within the broader context of music of its time. It is argued that most of the extant testimonies of conductus were subject to several stages of reworking, and a multitude of personalities are credited with the creation of the repertoire as a whole. Furthermore, the study discusses some particular cases of contested attribution and proposes new authorial identifications.
The analytical description that follows challenges the current view of the polyphonic conductus as a rigid juxtaposition of syllabic cum littera and melismatic sine littera sections. Such a sharp division does not take into account the complex structure of the syllabic cum littera music. The analytical study consequently undertaken describes all melismatic features of the two-voice conductus. Two groups of melismas are identified. The first, framing caudae, typically covers a structural role. The second, internal caudae, interacts actively with all the components of the song: text, meter, rhymes, and meaning of the poem.
The last section of this work examines the evolution of the use of melismas throughout the lifespan of the genre. The study is accomplished by building on the previous analytical investigation, diminishing ambiguities due to the relatively small sample of datable songs. The terminal cauda results being the main feature of the repertoire, initially set to all stanzas. The initial cauda was instead either set to all stanzas or not used at all. The approach to framing caudae becomes more flexible after the end of the twelfth century. Internal caudae were instead always used by conducti composers.