Music And Ceremony At Notre Dame Of Paris 500 1550
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Music and Ceremony at Notre Dame of Paris, 500-1550 by Craig Wright Pdf
This book is a history of the early musical life of the Parisian cathedral of Notre Dame. All aspects of the musical establishment of Notre Dame are covered, from Merovingian times to the period of the wars of religion in France. Nine discrete essays discuss the history of Parisian chant and liturgy and the pattern and structure of the cathedral services in the late Middle Ages; Notre Dame polyphony and the composers most closely associated with the cathedral, among them Leoninus, Perotinus and Philippe de Vitry; the organ and its repertoire; the choir, the musical education and performing traditions; and the relationship of the cathedral to the court.
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume ten include: Machaut's motet 15 and the Roman de la Rose: the literary context of Amours qui a le pouoir/Faus Samblant m' a deceii/Vidi Dominum; Giulo de' Medici's music books; Parisian nobles, a Scottish princess and the woman's voice in late medieval song.
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).
Notre Dame Cathedral by Dany Sandron,Andrew Tallon Pdf
Since its construction, Notre Dame Cathedral has played a central role in French cultural identity. In the wake of the tragic fire of 2019, questions of how to restore the fabric of this quintessential French monument are once more at the forefront. This all-too-prescient book, first published in French in 2013, takes a central place in the conversation. The Gothic cathedral par excellence, Notre Dame set the architectural bar in the competitive years of the third quarter of the twelfth century and dazzled the architects and aesthetes of the Enlightenment with its structural ingenuity. In the nineteenth century, the cathedral became the touchstone of a movement to restore medieval patrimony to its rightful place at the cultural heart of France: it was transformed into a colossal laboratory in which architects Jean-Baptiste Lassus and Eugène-Emmanuel Viollet-le-Duc anatomized structures, dismembered them, put them back, or built them anew—all the while documenting their work with scientific precision. Taking as their point of departure a three-dimensional laser scan of the cathedral created in 2010, architectural historians Dany Sandron and the late Andrew Tallon tell the story of the construction and reconstruction of Notre Dame in visual terms. With over a billion points of data, the scan supplies a highly accurate spatial map of the building, which is anatomized and rebuilt virtually. Fourteen double-page images represent the cathedral at specific points in time, while the accompanying text sets out the history of the building, addressing key topics such as the fundraising campaign, the construction of the vaults, and the liturgical function of the choir. Featuring 170 full-color illustrations and elegantly translated by Andrew Tallon and Lindsay Cook, Notre Dame Cathedral is an enlightening history of one of the world’s most treasured architectural achievements.
Reference work for musicologists, music theorists, performers, and music lovers Few western musical repertories speak more to the imagination than the Requiem mass for the dead. The Book of Requiems presents in-depth essays on the most important works in this tradition, from the origins of the genre up to the present day. Each chapter is devoted to a specific Requiem, and offers both historical information and a detailed work-discussion. Conceived as a multi-volume essay collection by leading experts, TheBook of Requiems is an authoritative reference publication intended as a first port of call for musicologists, music theorists, and performers both professional and student.
The Medieval Culture of Disputation by Alex J. Novikoff Pdf
Through hundreds of published and unpublished sources, Alex J. Novikoff traces the evolution of disputation from its ancient origins to its broader influence in the scholastic culture and public sphere of the High Middle Ages.
Notre-Dame of Amiens is one of the great Gothic cathedrals. Its construction began in 1220, and artistic production in the Gothic mode lasted well into the sixteenth century. In this magisterial chronicle, Stephen Murray invites readers to see the cathedral as more than just a thing of the past: it is a living document of medieval Christian society that endures in our own time. Murray tells the cathedral’s story from the overlapping perspectives of the social groups connected to it, exploring the ways that the layfolk who visit the cathedral occasionally, the clergy who use it daily, and the artisans who created it have interacted with the building over the centuries. He considers the cycles of human activity around the cathedral and shows how groups of makers and users have been inextricably intertwined in collaboration and, occasionally, conflict. The book travels around and through the spaces of the cathedral, allowing us to re-create similar passages by our medieval predecessors. Murray reveals the many worlds of the cathedral and brings them together in the architectural triumph of its central space. A beautifully illustrated account of a grand, historically and religiously important building from a variety of perspectives and in a variety of time periods, this book offers readers a memorable tour of Notre-Dame of Amiens that celebrates the cathedral’s eight hundredth anniversary. Notre-Dame of Amiens is enhanced by high-resolution images, liturgical music, and animations embedded in an innovative website.
Author : Anna Maria Busse Berger Publisher : University of California Press Page : 304 pages File Size : 51,5 Mb Release : 2019-10-08 Category : Music ISBN : 9780520314276
Medieval Music and the Art of Memory by Anna Maria Busse Berger Pdf
Winner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.
Binchois Studies by Andrew Kirkman,Dennis Slavin Pdf
A man of huge reputation in his lifetime, the fifteenth century composer Binchois remains for us, at the turn of the twenty-first century, one of the key musical figures of his age. In addressing various facets of his life, music, influences, and the world he inhabited, this volume casts new light not only on this enigmatic composer himself but also on the fascinating culture in which his musical personality was shaped.
The ars antiqua began to be mentioned in writings about music in the early decades of the fourteenth century, where it was cited along with references to a more modern "art", an ars nova. It was understood by those who coined the notion to be rooted in the musical practices outlined in the Ars musica of Lambertus and, especially, the Ars cantus mensurabilis of Franco of Cologne. Directly or indirectly the essays collected in this volume all address one or more of the issues regarding ars antiqua polyphony-questions relating to the nature and definition of genre; the evolution of the polyphonic idiom; the workings of the creative process including the role of oral process and notation and the continuum between these extremes; questions about how this music was used and understood; and of how it fits into the intellectual life of the twelfth and thirteenth centuries. Some of the essays ask new questions or approach long-standing ones from fresh perspectives. All, however, are rooted in a line of scholarship that produced a body of writing of continuing relevance.
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.
