Style and symbol: medieval music: 800 - 1453
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Ottawa
Inst. of Mediaeval Music
1989
|
| Series: | Institute of Mediaeval Music <Ottawa>: Wissenschaftliche Abhandlungen
51 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XXXI, 587 S. |
| ISBN: | 0931902614 |
Staff View
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| adam_text | Wissenschaftliche Abhandlungen
Band LI
Musicological Studies
Vol LI
STYLE AND SYMBOL
MEDIEVAL MUSIC: 800-1453
by
Andrew Hughes
The Institute of Mediaeval Music
Ottawa, Canada
TABLE OF CONTENTS
Entries in italics identify complete pieces of music
I INTRODUCTION
CHAPTER 1: A HISTORICAL PERSPECTIVE 3
The Middle Ages: then and now 3
Some difficulties for the historian 5
Medieval music: since the Middle Ages 9
Music in medieval history 12
The Carolingian era, 800-1050 12
The dissolution of the Carolingian empire 15
The emergence of France 16
The twelfth-century renaissance 17
The thirteenth century: France 18
The fourteenth century: France 20
Bohemia, Cyprus, Ireland, Poland, and Scandinavia 23
Germany 24
Spain 24
Italy 25
Britain 27
CHAPTER 2: CONTINUITY AND TRANSMISSION 29
Glossing and originality 33
Exegesis 33
Glossing as a musical phenomenon 36
Heterophony, and varied counter-melody 38
The legacy of the oral tradition 40
r
U THE ELEMENTS OF MEDIEVAL MUSIC
CHAPTER 3: NOTATION, PITCH, AND RHYTHM 49
Notation: a linguistic marker 51
Non-heighted neumes 51
Notation: pitch 53
Heighted neumes: Romanian and other letters 53
Rules, syllables, and stave 53
Notation: rhythm 57
Modal rhythm 58
Franco of Cologne (mid 13th century) 65
Hocket 66
Mensural rhythm 67
Pierre de la Croix 68
Italian notation 69
English notation 69
The avant-garde style: proportion, syncopation, displacement 70
CHAPTER 4: TEXTS AND TEXT SETTING 78
Contrafactum and originality 82
Liturgical texts 83
Biblical texts 84
Non-biblical texts 85
Para-liturgical texts and sacred poetry 87
Hymns: Te Deum and Gloria 87
Proses 87
Tropes 89
Serious texts 90
Versus and conductus 90
Devotional texts 91
Secular texts 92
The courtly love tradition 92
The motet: texts 93
Text setting 94
Rules for text setting 94
The relationship between text and music 95
Syllabic, neumatic, and melismatic settings 95
Syllabic genres 96
Syllabic genres with ornamentation 97
Neumatic genres 98
Melismatic genres 98
Accurate representation of text 100
The motet: style 103
The text and its audience 105
Liturgical genres 105
Other sacred and serious genres 105
Secular songs 106
The motet 106
Dame de valour/He Dieus/AMORIS 107
CHAPTER 5: HARMONY: CONSONANCE AND DISSONANCE 110
CHAPTER 6: CADENCE AND TONALITY 119
The modes 120
Modal cycles 126
The tenor and the cadence 126
The modal system and part-music 132
CHAPTER 7: FORM, FUNCTION, AND PERFORMANCE 133
Form 133
Simple repetition, envoy, refrain 134
Bar form, and multi-section forms 134
Paired phrases 135
Complex forms 135
Complicating features 135
Variation 136
Function and Performance 137
The genres 140
Repetitive genres; stanzas, refrains, and envoys 140
Hymns 140
Litany 140
Psalms and antiphons 140
Secular genres 141
Bar form, and multi-section genres 142
Secular forms 142
Liturgical forms 144
Responsories 145
Ordinary of the Mass 145
Genres with paired phrases 147
Sequence 147
Laudes salvatori (Notker) 147
Complex forms 157
formes fixes 157
Carol 160
Miscellaneous formal matters 162
Variation and isorhythm 163
Iff THE ELEMENTS COMBINED
CHAPTER 8: MELODY 177
Plainsong 189
Ego sum qui sum 190
Omnis terra: a mode 4 introit 192
Late medieval plainsong 200
Kyrie rex regum 205
Hymns and sequences 207
Secular amp; devotional song 211
Desconfortez, plains d ire 214
Melody in part-music 220
CHAPTER 9: THE HARMONIC LANGUAGE AND STYLE 222
Early medieval part-music 222
Part-music and glossing 222
Terminology, 850-1150 223
Parallel part-music: note-against-note 224
Heterophony 227
Non-parallel part-music: free organum 227
Guido of Arezzo, John of Afflighem, Ad organum faciendum 227
Developed discant 231
Florid organum 233
Vatican Organum Treatise (early 13th century) 233
Rhythmic coordination in the twelfth century 235
The rise of discant style: new terminology 236
Thirteenth-century harmony 237
Consonant dissonances 239
Fourteenth-century harmony 241
V I
Later medieval part-music: extemporized 246
Parallel extemporized descant above the chant 246
Extemporized English descant 247
Parallel extemporized descant below the chant 247
Fauxbourdon 247
Extemporization around the given voice 249
Gymel 249
Contratenor 249
Falsobordone 251
Towards suspensions 252
Cadences and non-cadences 253
Later medieval part-music: written 254
Music with layered melodies 255
Tenor style 255
Tenor or treble? 256
Treble style 257
Music with interlaced melodies 258
Paired lower voices 258
Contratenor style 261
Written English descant 262
Duets, pairs, range, and alternative voices 262
Cantilena 264
Style 264
Corps femenin (ballade: Solage) 266
IV THE REPERTORIES IN HISTORY
CHAPTER 10: CHURCH MUSIC 279
Latin Chant 279
Gregory the Great 279
Charlemagne 280
Old Roman chant 282
The services 282
The Mass 284
The Office Hours 288
The new chant repertories 290
Notker of St-Gall (ca 840-912): sequences and sequentia 293
Sequences and the Offices 297
Tropes, versus and conductus 299
vn
Summary: paraliturgical composition, ninth to eleventh centuries 300
New composition for the Mass 303
Beauvais 304
Offices 304
The Office for St Louis of France 307
Liturgical drama 310
Hildegard of Bingen (d 1179) 315
CHAPTER 11: CHURCH MUSIC, POLYPHONY 800-1200 319
Ninth to eleventh century 319
Parallel organum 319
Eleventh to twelfth century 322
Free organum 322
Aquitanian part-music 322
Discant style 324
Florid style 326
Copula 327
Santiago de Compostela: the Liber sancti Jacobi 328
Congaudeant catholici 330
Notre Dame 331
Florid organum and copula 331
Leonin 331
Perotin 333
Notre Dame: copulas and discant clausulas 335
Substitute clausula 338
CHAPTER 12: MOTET, CONDUCTUS, AND ISORHYTHM 340
The St-Victor manuscript 340
The motet 341
Motet texts 341
The conductus 348
The isorhythmic motet 352
Early fourteenth century 352
The tenor: rhythm 353
The tenor: melody 354
The contratenor 354
The upper voices 355
The texts 358
Machaut: the David Hocket 359
The later fourteenth century 359
viii
The isorhythmic motet in 15th-century England 361
The isorhythmic motet on the continent 363
CHAPTER 13: CHURCH MUSIC,
PART-MUSIC IN BRITAIN, 1200-1453 366
The English repertory 366
Munda Maria (rota-rondellus) 371
The influence of foreign music 375
The Old Hall manuscript 377
English descant 377
Lionel Power (d 1445) 380
John Dunstaple (d 1453) 381
Paired Mass movements 384
CHAPTER 14: CHURCH MUSIC,
PART-MUSIC IN EUROPE, 1200-1453 389
The Italian repertory 389
The Spanish repertory: Las Huelgas 390
Avignon: 1305-1415 390
The Ivrea and Apt manuscripts 392
The styles 393
Mass cycles 395
The Machaut Mass 396
1340-1430: Burgundy, Paris, and Flanders 398
Chapels, choirs, and composers 399
Ciconia (d 1412) 400
Interaction between England and the continent: 1415-35 402
Dufay and the Mass: before 1427 403
Dufay: 1427-39 404
Dufay, 1439-74: the late Masses 405
CHAPTER 15: MONOPHONIC SECULAR MUSIC 407
Latin songs 407
Vernacular song in France 409
The troubadours: 12th-century songs in occitan 409
The trouveres: 13th-century French songs 412
Adam de la Halle 415
Jehannot de l Escurel 416
The Roman de Fauvel 416
Thelai 421
ix
Machaut: the lais 422
Machaut: the monophonic virelais 424
Vernacular song in Germany and Austria 424
The minnesingers 424
Vernacular song in England 427
Vernacular song in Italy, and south of the Pyrenees 427
CHAPTER 16: SECULAR POLYPHONY 429
France 431
Machaut 431
Machaut s collected works 435
The late 14th-century secular courts 435
Italy 440
Madrigal 445
Caccia 445
Ballata 446
Che ti zova • 446
Composers and geography 449
The fifteenth century 451
Dufay (ca 1400-74) 451
Binchois (ca 1400-60) 452
England 453
CHAPTER 17: VERNACULAR DEVOTIONAL MUSIC 457
Godric s songs 458
Cantigas and pilgrims songs 459
The Llibre Vermeil 462
Laude spirituali 465
Geisslerlieder 468
Ireland 469
Carol 469
Other English devotional songs 471
The chace or chasse 475
Adam de la Bassee (d 1286) 477
CHAPTER 18: POPULAR MUSIC
DANCES, INSTRUMENTAL MUSIC, AND INSTRUMENTS 478
Popular music 478
Dances 483
Instrumental music 486
Instruments 488
The organ 489
Instruments from 1100-1453 490
CHAPTER 19: PERFORMANCE AND REPERTORY 494
Archeology 495
Theoretical treatises 495
Liturgical constraints 497
Archives 499
Literature and iconography 500
The musical evidence 501
Performance medium 502
Text underlay 502
Tempo 503
Dynamics 503
Ornamentation 504
Accidentals 504
The evidence of the manuscripts 504
A case study: a performers repertory 506
The Cypriot repertory 506
CHAPTER 20: STYLE, CONTEXT, AND SYMBOL 512
Style 513
Melody 513
Improvisation: monophony 516
Improvisation: part-music 517
Context 520
Function: sacred music 521
Function: secular music 523
Form, meaning, and movement 525
Texts 527
Milieu 530
Symbol 534
The philosophy of symbolism 534
Number symbolism 536
Other symbolism 540
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| series2 | Institute of Mediaeval Music <Ottawa>: Wissenschaftliche Abhandlungen |
| spelling | Hughes, Andrew Verfasser aut Style and symbol medieval music: 800 - 1453 Andrew Hughes Ottawa Inst. of Mediaeval Music 1989 XXXI, 587 S. txt rdacontent n rdamedia nc rdacarrier Institute of Mediaeval Music <Ottawa>: Wissenschaftliche Abhandlungen 51 Geschichte 1400-1500 Geschichte 800-1453 gnd rswk-swf Musique - 15e siècle - Histoire et critique Musique - 500-1400 - Histoire et critique Musique - Théorie - 500-1400 Muziek gtt Musik Music 15th century History and criticism Music 500-1400 History and criticism Musik (DE-588)4040802-4 gnd rswk-swf Musik (DE-588)4040802-4 s Geschichte 800-1453 z DE-604 Institute of Mediaeval Music <Ottawa>: Wissenschaftliche Abhandlungen 51 (DE-604)BV000625411 51 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=000814084&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hughes, Andrew Style and symbol medieval music: 800 - 1453 Institute of Mediaeval Music <Ottawa>: Wissenschaftliche Abhandlungen Musique - 15e siècle - Histoire et critique Musique - 500-1400 - Histoire et critique Musique - Théorie - 500-1400 Muziek gtt Musik Music 15th century History and criticism Music 500-1400 History and criticism Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 |
| title | Style and symbol medieval music: 800 - 1453 |
| title_auth | Style and symbol medieval music: 800 - 1453 |
| title_exact_search | Style and symbol medieval music: 800 - 1453 |
| title_full | Style and symbol medieval music: 800 - 1453 Andrew Hughes |
| title_fullStr | Style and symbol medieval music: 800 - 1453 Andrew Hughes |
| title_full_unstemmed | Style and symbol medieval music: 800 - 1453 Andrew Hughes |
| title_short | Style and symbol |
| title_sort | style and symbol medieval music 800 1453 |
| title_sub | medieval music: 800 - 1453 |
| topic | Musique - 15e siècle - Histoire et critique Musique - 500-1400 - Histoire et critique Musique - Théorie - 500-1400 Muziek gtt Musik Music 15th century History and criticism Music 500-1400 History and criticism Musik (DE-588)4040802-4 gnd |
| topic_facet | Musique - 15e siècle - Histoire et critique Musique - 500-1400 - Histoire et critique Musique - Théorie - 500-1400 Muziek Musik Music 15th century History and criticism Music 500-1400 History and criticism |
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