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Music as Concept and Practice in the Late Middle Ages
'Music as Concept and Practice in the Late Middle Ages' is an entirely new addition to the New Oxford History of Music series rather than a revision of the volume's predecessor published in 1960. It takes account not only of the developments in late-medieval music scholarship during the latter decades of the twentieth century, but also of the experience gained through significant changes in the performance practice of the late-medieval repertory witnessed during this period. All the chapters include areas of discussion whose coverage in the series hitherto has been either wholly lacking or, at best, marginal: Muslim and Jewish musical traditions of the Middle Ages, late-medieval office chant...
Brevis Summula Proportionum Quantum Ad Musicam Pertinet ; And, Parvus Tractatulus de Modo Monacordum Dividendi
The Brief Treatise on Ratios That Pertain to Music (1409) is a concise summary of the traditional doctrine of ratios. In A Little Treatise on the Method of Dividing the Monochord (1413) Prosdocimo established, for the first time in Italy, a completeøPythagorean monochord, dividing the octave into seven natural notes, five flats, and five sharps not enharmonically equivalent to the flats.
The Music of the Spheres in the Western Imagination
The Music of the Spheres in the Western Imagination describes various systematic musical ecologies of the cosmos by examining attempts over time to define Western theoretical musical systems, whether practical, human, nonhuman, or celestial. This book focuses on the theoretical, theological, philosophical, physical, and mathematical concepts of a cosmic musical order and how these concepts have changed in order to fit different worldviews through the imaginations of theologians, theorists, and authors of fiction, as well as the practical performance of music. Special attention is given to music theory treatises between the ninth and sixteenth centuries, English-language hymnody from the eighteenth century to the present, polemical works on music and worship from the last hundred years, the Divine Comedy of Dante, nineteenth- and twentieth-century English-language fiction, the fictional works of C. S. Lewis, and the legendarium of J. R. R. Tolkien.
Polytempic Polymicrotonal Music
This book introduces polytempic polymicrotonality as a new musical aesthetic. It proposes music with more than one microtonal tuning system and discusses examples from the literature to give an historic framework showing that this tendency has been present throughout human musical history. Polytempo is a tool for which polymicrotonal structures can function in relief from its background, and it acts as a frame, or ground structure, that is multidimensional, akin to the advancement of perspective in Renaissance art. The book has historic significance as it is the only book of its category, or genre, in music that features polymicrotonality in music composition or production. It displays examples of music literature for musical precedence in this area, focusing on Charles Ives’s Universe Symphony, unfinished since 1925.
Tractatus Figurarum
Notational complexity, or subtilitas, was engendered in the late fourteenth century by a thorough probing of all the rhythmic possibilities within the accepted mensurations. As French and Italian notational practices began to diverge at the beginning of the Ars nova, composers invented new rhythmic symbols?figurae?asøtheir innovations required, and this resulted in a variety of notations that were as confusing to the musician of the day as they are to the modern scholar. In the third quarter of the fourteenth century, a notational system combining elements of the French and Italian systems was put forth in the Tractatus figurarum. This system proposed a standard of set of figurae for simult...
Ars Cantus Mensurabilis Mensurata Per Modos Iuris
An anonymous fourteenth-century treatise that borrows heavily from the Libellus cantus mensurabilis attributed to Johannes de Muris, the Ars cantus mensurabilis mensurata per modos iuris differs from others ars nova treatises in its systematic application of scholastic philosophy and allusions to medieval law. Using music as the subject of inquiry, the writer addresses questions that occupied scholastic philosophers in other fields, such as the natural minimum of a substance and the potentia Dei absoluta. The writer quotes legal maxims and alludes to medieval legal issues such as the lex regia and the Becket controversy to justify and prove the rules of music. A substantial portion of the tr...
