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The Critical Nexus
The Critical Nexus is the first book to trace the development of the notational matrix of Western music from Antiquity to the fourteenth century. It shows how principles of ancient Greek theory were grafted onto medieval practice, leading to a theory of both tone-system and mode, and a concomitant system of musical notation, that is uniquely Western.
Western Plainchant
Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the eighth to ninth centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced study. It begins with an explanation of the liturgies that plainchant was designed to serve. It describes all the chief genres of chant, different types of liturgical book, and plainchant notations....
The 'Ars musica' Attributed to Magister Lambertus/Aristoteles
The treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne. Most treatises on music of this century - except for Franco‘s treatise on musical notation - survive in only a single copy; Lambertus‘s Ars musica, extant in five sources, is thus distinguished by a more substantial and long-lasting manuscript tradition. Unique in its ambitions, this treatise presents both the rudiments of the practice of liturgical chant and the principles of polyphonic notation in a dense and rigorous manner like few music treatises of its time - a conceptual framework characteristic of Parisian university culture in the thirteenth century. This new edition of Lambertus‘s treatise is the first since Edmond de Coussemaker‘s of 1864. Christian Meyer‘s meticulous edition is displayed on facing pages with Karen Desmonds English translation, and the treatise and translation are prefaced by a substantial introduction to the text and its author by Christian Meyer, translated by Barbara Haggh-Huglo.
Conceptualizing Music
This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.
The Musica of Hermannus Contractus
The renowned treatise on music, by an eleventh-century monk, in a critical edition with annotated English translation, introduction, and detailed indexes.
Musikalisches Denken im Mittelalter
Der Begriff «Musikalisches Denken» steht für den Versuch, Denkmöglichkeiten anhand von Musik zu erproben. Das Buch befasst sich schwerpunktmässig mit dem Zeitraum zwischen Boethius (um 500) und dem 15. Jahrhundert. Dieser Zeitraum wird im 20. Jahrhundert in der Musikgeschichte neu entdeckt und gelegentlich der Periode zwischen 1662 und 1879 als Gegenwelt gegenübergestellt. Im Vordergrund des Bandes stehen folgende Aspekte: die spezifische Reflexionsweise, die dem Begriff «Musik» in der Zeit zwischen Aristoteles und Leibniz eigen war; der musikalische Prozess als zeitliche Folge von Ordnung - Unordnung - Ordnung. Zudem werden verschiedene Denkmodelle vorgestellt. Die einen basieren auf dem Gegensatz abstrakt - konkret; andere beziehen sich auf situatives und operatives Denken. Das Buch ist interdisziplinär ausgerichtet und enthält einführende Materialien in die Neumenkunde sowie in die Modal- und Mensuralnotation.
Between Creativity and Norm-Making
The time of the transition from the Middle Ages to the onset of early modernity (c. 1400-1550) is a very complex one. It brought what on first sight appear to be contradictory developments. Human creativity and freedom became much more important; yet, at the same time, the foundations were laid for systems that allowed control to be exercised over virtually every aspect of human social life. How can we put these two phenomena together? Which tendency is the stronger one? The contributions in this volume focus on the tension between creativity and norm-making from the perspective of different academic disciplines, so as to shed light on this fascinating period in our history.
Writing Sounds in Carolingian Europe
This comprehensive study of musical notation from early medieval Europe provides a crucial new foundational model for understanding later Western notations.
Tactus , Mensuration and Rhythm in Renaissance Music
Ruth I. DeFord offers new insights on Renaissance theories of rhythm and their application to the analysis and performance of music.
