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A Performer's Guide to Medieval Music
A Performer's Guide to Medieval Music is an essential compilation of essays on all aspects of medieval music performance, with 40 essays by experts on everything from repertoire, voices, and instruments to basic theory. This concise, readable guide has proven indispensable to performers and scholars of medieval music.
Music and Culture in the Middle Ages and Beyond
The essays in this volume offer diverse, innovative approaches to medieval music and culture.
The Cambridge Companion to Medieval Music
From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the key aspects of medieval music. Divided into three main sections, the book first of all discusses repertory, styles and techniques - the key areas of traditional music histories; next taking a topographical view of the subject - from Italy, German-speaking lands, and the Iberian Peninsula; and concludes with chapters on such issues as liturgy, vernacular poetry and reception. Rather than presenting merely a chronological view of the history of medieval music, the volume instead focuses on technical and cultural aspects of the subject. Over nineteen informative chapters, fifteen world-leading scholars give a perspective on the music of the Middle Ages that will serve as a point of orientation for the informed listener and reader, and is a must-have guide for anyone with an interest in listening to and understanding medieval music.
Experimental Encounters in Music and Beyond
Multidisciplinary analysis of experimentalism in music and the wider arts today Experimental Encounters in Music and Beyond opens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term “experimental”, this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces, and spaces, revealing what experimentalism in music and the wider arts entails today. With perspectives from a range of disciplines—from choreography through composition to philosophy and beyon...
Historical Dictionary of Baroque Music
Although it lies far back, running roughly from about 1600 to 1750, the Baroque period is far from forgotten and Baroque music is played widely today as well, exercising numerous musicians and attracting rather substantial audiences. It experienced the emergence of a new sort of music, increasingly secular and increasingly good listening, if you will, and also the start of opera. Some of the Baroque composers appear among the most popular of all time, such as Bach, Handel and Vivaldi. So yes, this is a book for researchers, but it is also a good book for anyone who enjoys this music. The Historical Dictionary of Baroque Music certainly fills a significant space in the whole sub-series on music, since it tells us much more not only about the music but also the age that generated it. This is done particularly well in an insightful introduction, with the flow of events traced by the chronology. The dictionary section fills in the missing details with over 400 entries on the most important composers and musicians, some of the musical works themselves, important places and institutions, and a smattering of technical terms. The bibliography directs us to further reading.
The A to Z of Sacred Music
Nearly all religious traditions have reserved a special place for sacred music. Whether it is music accompanying a ritual or purely for devotional purposes, music composed for entire congregations or for the trained soloist, or music set to holy words or purely instrumental, in some form or another, music is present. In fact, in some traditions the relation between the music and the ritual is so intimate that to distinguish between them would be inaccurate. The A to Z of Sacred Music covers the most important aspects of the sacred music of Buddhism, Christianity, Confucianism, Hinduism, Islam, Judaism, and other smaller religious groups. It provides useful information on all the significant traditions of this music through the use of a chronology, an introductory essay, a bibliography, appendixes, and hundreds of cross-referenced dictionary entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions.
French Motets in the Thirteenth Century
This is the first full-length study of the vernacular motet in thirteenth-century France. The motet was the most prestigious type of music of that period, filling a gap between the music of the so-called Notre-Dame School and the Ars Nova of the early fourteenth century. This book takes the music and the poetry of the motet as its starting-point and attempts to come to grips with the ways in which musicians and poets treated pre-existing material, creating new artefacts. The book reviews the processes of texting and retexting, and the procedures for imparting structure to the works; it considers the way we conceive genre in the thirteenth-century motet, and supplements these with principles derived from twentieth-century genre theory. The motet is viewed as the interaction of literary and musical modes whose relationships give meaning to individual musical compositions.
