This book presents the most recent findings of twenty of the foremost European and North American researchers into the music of the Middle Ages. The chronological scope of their topics is wide, from the ninth to the fifteenth century. Wide too is the range of the subject matter: included are essays on ecclesiastical chant, early and late (and on the earliest and latest of its supernumerary tropes, monophonic and polyphonic); on the innovative and seminal polyphony of Notre-Dame de Paris, and the Latin poetry associated with the great cathedral; on the liturgy of Paris, Rome and Milan; on musical theory; on the emotional reception of music near the end of the medieval period and the emergence of modern sensibilities; even on methods of encoding the melodies that survive from the Middle Ages, encoding that makes it practical to apply computer-assisted analysis to their vast number. The findings presented in this book will be of interest to those engaged by music and the liturgy, active researchers and students. All the papers are carefully and extensively documented by references to medieval sources.
Table of Contents
Contents: Two paradigms of orality: the office and the mass, LÃ¡szlÃ³ Dobszay; Salamanca to Sydney: a newly-discovered manuscript of the Lamentations of Jeremiah, Jane Morlet Hardie; Gregorian responsories based on texts from the Book of Judith, Ruth Steiner; Modes and modality: a unifying concept for Western chant?, John Caldwell; RéÃ´me, Cluny, Dijon, Barbara Haggh and Michel Huglo; The first dictionary of music: the Vocabularium musicum of ms Monte Cassino 318, Alma Santosuosso; The twilight of troping, Theodore Karp; To trope or not to trope? Or, how was that English Gloria performed?, William John Summers; Why Marian motets on non-Marian tenors? An answer, Rebecca A. Baltzer; Consecrating the house: the Carmelites and the office of the dedication of a church, James John Boyce, O. Carm.; A historical context for Guido d'Arezzo's use of distinctio, Dolores Pesce; The musical text of the introit Resurrexi, David Hughes; Chants for four masses in the Editio princeps of the Pontificale romanum (1485), James Borders; The double office at St Peter's Basilica on Dominica de Gaudete, Joseph Dyer; Philip the Chancellor and the conductus prosula: 'motetish' works from the School of Notre-Dame, Thomas B. Payne; Vox - littera - cantus: aspects of voice and vocality in medieval song, Philip Weller; Ambrosian processions of the saints, Terence Bailey; Patterns and paleography: revisions, variants, errors, and methods, Andrew Hughes; Notker in Aquitaine, Alejandro Enrique Planchart; The Historia Sancti Magni by Hermannus Contractus (1013-1054), David Hiley; Publications of Bryan Gillingham; Bibliography; Indexes.
A treasury of current research in the history of medieval music! Twenty studies by established scholars, each reporting with an individual approach and method, each with a passionate interest in the subject. Taken together, the studies present a full range of recent scholarly achievement in the field, revealing the richly varied tapestry of medieval music that has come to light during the twentieth century. Topics range from thought-provoking meditations on perennial fundamental questions to intense engagement with the detail of materials both familiar and unfamiliar, including liturgical practices and musical traditions in specific times and places, life histories and fortunes of specific manuscripts, developments in musical style and practice, theory of monophonic and polyphonic music. At every turn these materials are treated with an eagerness to experience music as it was made in the Middle Ages. Richard L. Crocker ’Essays on liturgical chant, polyphony, music theory, and computer-assisted analysis of melodic phrases are just some of the fascinating inclusions in this book, which is a seminal addition to the literature on medieval music. Highly recommended.’ Choice ’There are 20 contributions here, many by distinguished scholars - a tribute to Gillingham's distinction as scholar and publisher.’ Early Music Review ’The volume under review feels almost like a birthday present for every reader, not just for the dedicatee; it is the sort of book over whose contents page one lingers for awhile before sampling a sentence or two of particularly attractive-looking essays, and finally settling down to devouring the volume from cover to cover... It is an essential addition to any university library, and to the private library of any musicologist specializing in the early medieval period. The range of topics is wide, encompassing many of the primary concerns of scholars in the field. I have rarely encountered a collection whose essays are of such consist