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Music in the Medieval West [Minkštas viršelis]

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(University of Notre Dame), Series edited by (Columbia University)
  • Formatas: Paperback / softback, 352 pages, aukštis x plotis x storis: 234x157x23 mm, weight: 589 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 06-May-2014
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929159
  • ISBN-13: 9780393929157
Kitos knygos pagal šią temą:
Music in the Medieval WestDidesnis paveikslėlis
  • Formatas: Paperback / softback, 352 pages, aukštis x plotis x storis: 234x157x23 mm, weight: 589 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 06-May-2014
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929159
  • ISBN-13: 9780393929157
Kitos knygos pagal šią temą:
Pastovi nuoroda: https://www.kriso.lt/db/9780393929157.html
Raktažodžiai:
The first of six volumes of the series Western Music in Context, this in-depth discussion of the development of early Western Music is arranged chronologically, from its pre-written origins in the Carolingian Empire and specific liturgical approaches, through its developments and increase in complexity in the 11th-12th centuries, with the organum, the effect of pilgrimage and the enormous impact of the Norman conquest and the origins of secular music; to the intersection of music and learning during the 13th century, and the academic study of music; to, finally the major changes in style, and the advent of the patron/musician system of the fourteenth century, and the influence of music on the court life of the time. Along the way, the author describes a wonderfully varied range of repertoire, and we meet many fascinating characters without whom the music today would be unrecognizable: from Abelard and Heloise to Frauenlob and Hildegard. Theory is discussed throughout, with a special emphasis on it in the latter chapters, congruent with its historical development. An introductory chapter sets the tone of the whole series by an quick overview of the origin of the Middle Ages itself, and providing a context for major musical works in religious, political and philosophical background of the time. Annotation ©2014 Ringgold, Inc., Portland, OR (protoview.com)

Margot Fassler's Music in the Medieval West imaginatively reconstructs the repertoire of the Middle Ages by drawing on a wide range of sources. In addition to highlighting the ceremonial and dramatic functions of medieval music (both sacred and secular), she pays special attention to the exchange of musical ideas, the development of musical notation and other methods of transmission, and the role of women in musical culture.Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Medieval music in its cultural, social, and intellectual contexts.
Anthology Repertoire xii
Series Editor's Preface xv
Author's Preface xvii
Chapter 1 The Making of the Middle Ages
1(14)
A Case Study: Ave Maris Stella
3(7)
Medieval Books and the Spread of Christianity
10(1)
The Art of Memory
11(2)
For Further Reading
13(2)
PART I Founders and Foundations of Western Music
15(64)
Chapter 2 Medieval Musical Traditions: Before the Written Evidence
19(17)
Egeria in Jerusalem: A Pilgrim's View
20(4)
Jerusalem in the Sixth and Seventh Centuries
24(1)
Psalms and Hymns: Translations, Interpretations, and Forms
25(3)
Boethius and the Greeks: A Scholar's View of Antique Music
28(5)
Reconstructing an Early Medieval Harp
33(1)
For Further Reading
34(2)
Chapter 3 Chant and the Carolingians
36(20)
Frankish Chant: Myths and Memory
37(3)
The Frankish Mass and its Music
40(4)
The Development of Chant Notation
44(2)
Early Chant Books and Databases: Mode and Memory in the Ninth Century
46(5)
Modes and Early Theoretical Understanding
51(3)
For Further Reading
54(2)
Chapter 4 The Office, the Mass Ordinary, and Practices of Troping
56(23)
Music in Monastic and Secular Churches
58(1)
Music for the Office
59(7)
The Mass Ordinary and Its Tropes
66(5)
Commentaries on the Alleluia
71(3)
Tropes from the Workshop of Ademar of Chabannes
74(4)
For Further Reading
78(1)
PART II Conquest and Devotion in the Eleventh and Twelfth Centuries
79(64)
Chapter 5 Teaching and Learning in the Late Romanesque
84(20)
Ademar's Description of a Relic in Action
86(3)
Creating Characters through Music: The Sounds Of the Saints
89(4)
Teaching and Learning in the Eleventh Century
93(4)
Organs and Organum
97(2)
Teaching Music at the Turn of the Twelfth Century
99(4)
For Further Reading
103(1)
Chapter 6 Conquest, Changing Tastes, and Pilgrimage in the Twelfth Century
104(17)
Music and Conquest
106(1)
Normans on the Move in England, Sicily, and Jerusalem
107(2)
Music and Monasticism: Cluny in Context
109(3)
Polyphonic Repertories in Southern France
112(2)
Medieval Iberia in an Age of Reconquest
114(6)
For Further Reading
120(1)
Chapter 7 Poet-Composers in an Age of the Individual
121(22)
Abelard and Heloise: Lovers and Religious Reformers
122(4)
The Many Facets of Courtly Love
126(2)
The First Vernacular Song Repertory
128(4)
The Aesthetics of the Early Gothic
132(3)
Victorine Sequences as an Art of Memory
135(2)
Hildegard of Bingen: Levels of Meaning in Song and Drama
137(4)
For Further Reading
141(2)
PART III Schools and Urban Sounds in the Thirteenth Century
143(50)
Chapter 8 "Then Truly Was the Time of Singing Come"
147(21)
St. Francis and His Followers
149(3)
The Lives of Students in Song
152(6)
Songs and Song Collections from Northern France: The Trouveres
158(5)
Cantigas from Medieval Spain
163(3)
For Further Reading
166(2)
Chapter 9 Music and Learning in the Thirteenth Century
168(25)
Music and the Miraculous
170(5)
Learned Music in Thirteenth-Century Paris
175(11)
The Thirteenth-Century Motet
186(5)
For Further Reading
191(2)
PART IV Musicians and Patrons in the Fourteenth Century
193
Chapter 10 Music and Narrative in Fourteenth-Century France
197(26)
Music and Court Life at the Time of the Last Capetians
198(5)
Politics and the Roman de Fauvel
203(5)
Johannes de Muris, Philippe de Vitry, and the Ars Nova
208(3)
Guillaume de Machaut: Narrative and Memory
211(7)
The Ars Subtilior: Music at the Close of the Fourteenth Century in France
218(3)
For Further Reading
221(2)
Chapter 11 Italy and England in the Fourteenth Century
223(23)
Music of the Trecento
224(3)
Sources of Trecento Music
227(9)
English Song in the Late Thirteenth and Fourteenth Centuries
236(3)
Late-Fourteenth-Century Sacred Music, with an Emphasis on England
239(5)
For Further Reading
244(2)
Chapter 12 On the Edges
246
Frauenlob and German Minstrelsy
247(4)
Religious Women in the Long Fourteenth Century
251(3)
Late Medieval Music in Spain and Iceland
254(3)
The Global Middle Ages
257(2)
For Further Reading
259
APPENDIX A Medieval Music Primer
1(32)
I Sources
2(6)
II Medieval Notation
8(11)
III Medieval Music Theory and Practice
19(7)
IV The Liturgy of the Roman Catholic Church
26(7)
Glossary 33(10)
Endnotes 43(16)
Credits 59(2)
Index 61
Margot Fassler is Keough-Hesburgh Professor of Music History and Liturgy at the University of Notre Dame. Her works include The Virgin of Chartres: Making History through Liturgy and the Arts, Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris, and a series of films on sacred music. Fassler is a member of the American Academy of Arts and Letters; her awards include a Guggenheim Fellowship and the American Musicological Societys Otto Kinkeldey Prize. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 19031908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.