Citation And Authority In Medieval And Renaissance Musical Culture
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Citation and Authority in Medieval and Renaissance Musical Culture by Suzannah Clark,Elizabeth Eva Leach Pdf
Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.
Music and Riddle Culture in the Renaissance by Katelijne Schiltz,Bonnie J. Blackburn Pdf
The culture of the enigmatic from Classical Antiquity to the Renaissance -- Devising musical riddles in the Renaissance -- The reception of the enigmatic in music theory -- Riddles visualised.
Custom was fundamental to medieval legal practice. Whether in a property dispute or a trial for murder, the aggrieved and accused would go to lay court where cases were resolved according to custom. What custom meant, however, went through a radical shift in the medieval period. Between the twelfth and thirteenth centuries, custom went from being a largely oral and performed practice to one that was also conceptualized in writing. Based on French lawbooks known as coutumiers, Ada Maria Kuskowski traces the repercussions this transformation – in the form of custom from unwritten to written and in the language of law from elite Latin to common vernacular – had on the cultural world of law. Vernacular Law offers a new understanding of the formation of a new field of knowledge: authors combined ideas, experience and critical thought to write lawbooks that made disparate customs into the field known as customary law.
Authorities in the Middle Ages by Sini Kangas,Mia Korpiola,Tuija Ainonen Pdf
Medievalists reading and writing about and around authority-related themes lack clear definitions of its actual meanings in the medieval context. Authorities in the Middle Ages offers answers to this thorny issue through specialized investigations. This book considers the concept of authority and explores the various practices of creating authority in medieval society. In their studies sixteen scholars investigate the definition, formation, establishment, maintenance, and collapse of what we understand in terms of medieval struggles for authority, influence and power. The interdisciplinary nature of this volume resonates with the multi-faceted field of medieval culture, its social structures, and forms of communication. The fields of expertise include history, legal studies, theology, philosophy, politics, literature and art history. The scope of inquiry extends from late antiquity to the mid-fifteenth century, from the Church Fathers debating with pagans to the rapacious ghosts ruining the life of the living in the Sagas. There is a special emphasis on such exciting but understudied areas as the Balkans, Iceland and the eastern fringes of Scandinavia.
Guillaume de Machaut, The Complete Poetry and Music, Volume 9 by Jacques Boogaart Pdf
This long overdue new edition of Guillaume de Machaut's twenty-three motets, the largest surviving collection of such works by a single composer in this period, is based on the most authoritative of the surviving manuscripts and is designed to meet the needs both of advanced scholars and musicians as well as students and performers. This user-friendly format indicates variants on the scores and has a layout that makes each work's structure clearly visible; the lyrics, with full English translation, are presented at the end of each work.
Composing Community in Late Medieval Music by Jane D. Hatter Pdf
An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.
Music as Social and Cultural Practice by Melania Bucciarelli,Berta Joncus Pdf
"The linking theme of the essays collected here is the intersection of musical work with social and cultural practice. Inspired by Professor Strohm's ideas, as is fitting in a volume in his honour, leading scholars in the field explore diverse conceptualizations of the 'work' within the contexts of a specific repertory, over four main sections. Music in Theory and Practice studies the link between treatises and musical practice, and analyses how historical writings can reveal period views on the 'work' in music before 1800. Art and Social Process: Music in Court and Urban Societies looks at the social and cultural practices informing composition from the late Renaissance until the mid-eighteenth century, and interrogates current notions of canon formation and the exchange between local and foreign traditions. Creating an Opera Industry focuses on how genre and artistic autonomy were defined in operas from diverse eras and countries, explaining the role of literature and politics in this process. Finally, The Crisis of Modernity treats nineteenth-century music, offering new models for 'work' and 'context' to challenge reigning theories of the meaning of these terms."--Publisher's website.
Essays on Renaissance Music in Honour of David Fallows by Fabrice Fitch,Jacobijn Kiel Pdf
New articles on du Fay and Desprez, on sacred and secular music, and reception history, form a fitting tribute to one of the field's foremost scholars. This volume celebrates the work of David Fallows, one of the most influential scholars in the field of medieval and Renaissance music. It draws together articles by scholars from around the world, focusing on key topics to which Fallows has contributed significantly: the life and works of Guillaume Du Fay and of Josquin Desprez, archival studies and biography, sacred and secular music of the late mediaeval and Renaissance period, and reception history. Studies include major archival discoveries concerning the identity of the composer Fremin Caron; a reconsideration of the authorship of works within the Josquin canon, notably Mille regretz and Absalon fili mi; a freshlook at key works from Du Fay's youth and early maturity; accounts of newly discovered sources and works; and an appraisal of David Fallows' contribution to the early music performance movement by Christopher Page, former directorof Gothic Voices. The collection also includes two newly published compositions dedicated to the honorand. Fabrice Fitch teaches at the Royal Northern College of Music; Jacobijn Kiel is an independent scholar. Contributors: Rob C. Wegman, Jane Alden, Bonnie J. Blackburn, Honey Meconi, Gianluca D'Agostino, Andrew Kirkman, Jaap van Benthem, Margaret Bent, James Haar, Alenjandro Enrique Planchart, Jesse Rodin, Lorenz Welker, Kinuho Endo, Joshua Rifkin, Thomas Schmidt-Beste, Richard Sherr, Peter Wright, Fabrice Fitch, Tess Knighton, Warwick Edwards, Adam Knight Gilbert, Markus Jans, Oliver Neighbour, Anthony Rooley, Keith Polk, John Milsom, Jeffrey J. Dean, EricJas, Peter Gülke, Iain Fenlon, Barbara Haggh, Dagmar Hoffmann-Axthelm, Leofranc Holford-Strevens, Andrea Lindmayr-Brandl, Esperanza Rodríguez-García, Eugeen Schreurs, Reinhard Strohm
Taking in hand the current ""discovery"" that we can listen to the cosmos, Andrew Hicks argues that sound-and the harmonious coordination of sounds, sources, and listeners-has always been an integral part of the history of studying the cosmos. In Composing the World, Hicks presents a narrative tour through medieval Platonic cosmology with reflections on important philosophical movements along the way. The book will resonate with a variety of readers, and it encourages us to rethink the role of music and sound within our greater understanding of the universe.
Upper-Voice Structures and Compositional Process in the Ars Nova Motet by Anna Zayaruznaya Pdf
In the motets of Philippe de Vitry, Guillaume de Machaut, and their contemporaries, tenors have often been characterized as the primary shaping forces, prior in conception as well as in construction to the upper voices. Tenors are shaped by the interaction of talea and color, medieval terms now used to refer to the independent repetition of rhythms and pitches, respectively. The presence in the upper voices of the periodically repeating rhythmic patterns, often referred to as "isorhythm," has been characterized as an amplification of tenor structure. But a fresh look at the medieval treatises suggests a revised analytical vocabulary: for many fourteenth- and fifteenth-century writers, both color and talea involved rhythmic repetition, the latter in the upper voices specifically. And attention to upper-voice taleae independently of tenor structures brings renewed emphasis to the significant portion of the repertory in which upper voices evince formal schemes that differ from those in the tenors. These structures in turn suggest a revision of the presumed compositional process for motets, implying that in some cases upper-voice text and forms may have preceded the selection and organization of tenors. Such revisions have implications for hermeneutic endeavors, since not only the forms of motet voices but the meanings of their texts change, depending on whether analysis proceeds from the tenor up, or from the top down. Where the presumed compositional and structural primacy afforded to tenors has encouraged a strand of interpretation that reads the upper-voice poetry as conforming to, and amplifying, the tenor text snippets and their liturgical contexts, a "bottom-down" view casts tenors in a supporting role and reveals the poetic impulse of the upper voices as the organizing principle of motets.
A Companion to Boethius in the Middle Ages by Noel Harold Kaylor,Philip Edward Phillips Pdf
The articles in this volume focus upon Boethius's extant works: his De arithmetica and a fragmentary De musica, his translations and commentaries on logic, his five theological texts, and, of course, his Consolation of Philosophy. They examine the effects that Boethian thought has exercised upon the learning of later generations of scholars.
