Medieval polyphony and song:
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, United Kingdom ; New York, NY, USA
Cambridge University Press
2023
|
| Schriftenreihe: | Cambridge introductions to music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xiv, 248 Seiten Illustrationen, Karten, Notenbeispiele |
| ISBN: | 9781107151161 9781316601495 |
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Datensatz im Suchindex
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| adam_text | Contents List of Figures List of Tables List of Boxes List of Music Examples Acknowledgements page ix xi xii xiii xiv 1 Introduction and Historical Outline 1 2 Monastic Centres in the Early Middle Ages 11 3 Court and Cloister in Aquitaine and Occitania 33 4 Paris: City, Cathedral, and University 56 5 Courts and Cities in Northern France 85 6 Scribes, Scholars, and Secretaries in FourteenthCentury France 7 England after the Norman Conquest 8 On the Shores of the Mediterranean: Italy, Sicily, and the Iberian Peninsula 9 The German- and Dutch-Speaking Lands 115 139 160 181 vii
viii Contents 10 Medievalisms: Modern Encounters with Medieval Polyphony and Song 203 Glossary Bibliography Discography Index 219 231 235 238
Medieval Polyphony and Song What characterises medieval polyphony and song? Who composed this music, sang it, and wrote it down? Where and when did the different genres originate, and under what circumstances were they created and performed? This book gives a comprehensive introduction to the rich variety of polyphonic practices and song traditions during the Middle Ages. It explores song from across Europe, in Latin and vernacular languages (precursors to modern Dutch, English, French, German, Italian, Portuguese and Spanish); and polyphony from early improvised organum to rhythmically and harmonically complex late medieval motets. Each chapter fo cuses on a particular geographical location, setting out the specific local contexts of the music created there. Guiding the reader through the musical techniques of melody, harmony, rhythm, and notation that distinguish the different genres of polyphony and song, the authors also consider the factors that make modern performances of this music sound so different from one another. Cambridge Introductions to Music Cambridge University Press is to be congratulated for formulating the idea of an “Introductions to Music” series.’ Nicholas Jones, The Musical Times Each book in this series focuses on a topic fundamental to the study of music at undergraduate and graduate level. The introductions will also appeal to readers who want to broaden their understanding of the music they enjoy. Helen Deeming is an Honorary Research Associate at Royal Holloway, University of London. She is the author of Songs in British Sources, c.11^0-1300
(2013) and the editor, with Elizabeth Eva Leach, of Manuscripts and Medieval Song (2015) and A Cultural History of Western Music in the Middle Ages (Bloomsbury, forthcoming). Frieda van der Heijden specializes in medieval vernacular song and manuscript production. In her Ph.D. dissertation (2018) she demonstrates aspects of increasing commercialization in the produc tion of (music) books in thirteenth- and fourteenth-century Northern France. She taught musicol ogy, music history, and medieval history courses at Royal Holloway, and Utrecht University.
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| adam_txt |
Contents List of Figures List of Tables List of Boxes List of Music Examples Acknowledgements page ix xi xii xiii xiv 1 Introduction and Historical Outline 1 2 Monastic Centres in the Early Middle Ages 11 3 Court and Cloister in Aquitaine and Occitania 33 4 Paris: City, Cathedral, and University 56 5 Courts and Cities in Northern France 85 6 Scribes, Scholars, and Secretaries in FourteenthCentury France 7 England after the Norman Conquest 8 On the Shores of the Mediterranean: Italy, Sicily, and the Iberian Peninsula 9 The German- and Dutch-Speaking Lands 115 139 160 181 vii
viii Contents 10 Medievalisms: Modern Encounters with Medieval Polyphony and Song 203 Glossary Bibliography Discography Index 219 231 235 238
Medieval Polyphony and Song What characterises medieval polyphony and song? Who composed this music, sang it, and wrote it down? Where and when did the different genres originate, and under what circumstances were they created and performed? This book gives a comprehensive introduction to the rich variety of polyphonic practices and song traditions during the Middle Ages. It explores song from across Europe, in Latin and vernacular languages (precursors to modern Dutch, English, French, German, Italian, Portuguese and Spanish); and polyphony from early improvised organum to rhythmically and harmonically complex late medieval motets. Each chapter fo cuses on a particular geographical location, setting out the specific local contexts of the music created there. Guiding the reader through the musical techniques of melody, harmony, rhythm, and notation that distinguish the different genres of polyphony and song, the authors also consider the factors that make modern performances of this music sound so different from one another. Cambridge Introductions to Music Cambridge University Press is to be congratulated for formulating the idea of an “Introductions to Music” series.’ Nicholas Jones, The Musical Times Each book in this series focuses on a topic fundamental to the study of music at undergraduate and graduate level. The introductions will also appeal to readers who want to broaden their understanding of the music they enjoy. Helen Deeming is an Honorary Research Associate at Royal Holloway, University of London. She is the author of Songs in British Sources, c.11^0-1300
(2013) and the editor, with Elizabeth Eva Leach, of Manuscripts and Medieval Song (2015) and A Cultural History of Western Music in the Middle Ages (Bloomsbury, forthcoming). Frieda van der Heijden specializes in medieval vernacular song and manuscript production. In her Ph.D. dissertation (2018) she demonstrates aspects of increasing commercialization in the produc tion of (music) books in thirteenth- and fourteenth-century Northern France. She taught musicol ogy, music history, and medieval history courses at Royal Holloway, and Utrecht University. |
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