This volume first addresses crucial problems in the history of ancient and medieval theory of music, searching for the appropriate technical concepts and tonal structure with which to understand medieval music. The second section presents the documentary foundation for Professor Crocker’s work on the medieval sequence, and includes ’The Troping Hypothesis’, one of the first and most famous musicological exercises in deconstruction.
Table of Contents
Contents: Introduction; Review of Hans Joachim Moser, ’Die Tonsprachen des Abendlandes’; Pythagorean mathematics and music (Parts I & II); Aristoxenus and Greek mathematics; ’Musica Rhythmica’ and ’Musica Metrica’ in antique and medieval theory; Review of John Stevens, ’Words and music in the Middle Ages’; Alphabet notations for early medieval music; Review of Michel Huglo, ’Les Tonaires: Inventaire, analyse, comparaison’; Hermann’s Major Sixth; Discant, counterpoint, and harmony; A new source for medieval music theory; Why did Zarlino re-number the modes?; Review of Edward E. Lowinsky, ’Tonality and Atonality in 16th-century music’; The troping hypothesis; The repertory of proses at Saint Martial de Limoges in the 10th century; Some 9th-century sequences; Review of N. de Goede, ’The Utrecht Prosarium’; The sequence; The early Frankish sequence: a new musical form; List of manuscrips cited; List of musical compositions cited; Index.