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Revisiting the Codex Buranus
Enables the less well-known aspects of the Codex Buranus to receive greater scrutiny, and bring new perspectives to bear on the more thoroughly explored parts of the manuscript. Making accessible existing discourse and encouraging fresh debates on the codex, the essays advocate fresh modes of engagement with its contents, contexts, and composition.
Poems without Poets
The canon of classical Greek and Latin poetry is built around big names, with Homer and Virgil at the center, but many ancient poems survive without a firm ascription to a known author. This negative category, anonymity, ties together texts as different as, for instance, the orally derived Homeric Hymns and the learned interpolation that is the Helen episode in Aeneid 2, but they all have in common that they have been maltreated in various ways, consciously or through neglect, by generations of readers and scholars, ancient as well as modern. These accumulated layers of obliteration, which can manifest, for instance, in textual distortions or aesthetic condemnation, make it all but impossibl...
The Media of Secular Music in the Medieval and Early Modern Period (1100–1650)
This book brings a new perspective to secular music sources from the Middle Ages and early modernity by viewing them as media communication tools, whose particular features shape the meaning of their contents. Ranging from the eleventh to seventeenth centuries, and across countries and genres, the chapters offer innovative insights into the historical relationship between music and its presentation in a wide variety of media. The lens of media enables contributors to expand music history beyond notated music manuscripts and instruments to include images, furniture, luxury items, and other objects, and to address uniquely visual and material aspects of music sources in books and literature. Drawing together an international group of contributors, the volume pays close attention to the medial and material dimensions of musical sources, considering them as multifaceted objects that not only contain but also determine the nature of the music they transmit. Transforming our understanding of musical media, this volume will be of interest to scholars of musicology, art history, and medieval and early modern cultures.
The Cambridge Companion to Women Composers
Moving beyond narratives of female suppression, and exploring the critical potential of a diverse, distinguished repertoire, this Companion transforms received understanding of women composers. Organised thematically, and ranging beyond elite, Western genres, it explores the work of diverse female composers from medieval to modern times, besides the familiar headline names. The book's prologue traces the development of scholarship on women composers over the past five decades and the category of 'woman composer' itself. The chapters that follow reveal scenes of flourishing creativity, technical innovation, and (often fleeting) recognition, challenging long-held notions around invisibility and neglect and dismissing clichés about women composers and their work. Leading scholars trace shifting ideas about composers and compositional processes, contributing to a wider understanding of how composers have functioned in history and making this volume essential reading for all students of musical history. In an epilogue, three contemporary composers reflect on their careers and identities.
Healing Grief
Both our view of Seneca’s philosophical thought and our approach to the ancient consolatory genre have radically changed since the latest commentary on the Consolatio ad Marciam was written in 1981. The aim of this work is to offer a new book-length commentary on the earliest of Seneca’s extant writings, along with a revision of the Latin text and a reassessment of Seneca’s intellectual program, strategies, and context. A crucial document to penetrate Seneca’s discourse on the self in its embryonic stages, the Ad Marciam is here taken seriously as an engaging attempt to direct the persuasive power of literary models and rhetorical devices toward the fundamentally moral project of healing Marcia’s grief and correcting her cognitive distortions. Through close reading of the Latin text, this commentary shows that Seneca invariably adapts different traditions and voices – from Greek consolations to Plato’s dialogues, from the Roman discourse of gender and exemplarity to epic poetry – to a Stoic framework, so as to give his reader a lucid understanding of the limits of the self and the ineluctability of natural laws.
The Gendered ‘I’ in Ancient Literature
Considering the ubiquity of rhetorical training in antiquity, the volume starts from the premise that every first-person statement in ancient literature is in some way rhetorically modelled and aesthetically shaped. Focusing on different types of Greek and Latin literature, poetry and prose, from the Archaic Age to Late Antiquity, the contributions analyse the use and modelling of gender-specific elements in different types of first-person speech, be it that the speaker is (represented as) the author of a work, be it that they feature as characters in the work, narrating their own story or that of others. In doing so, they do not only offer new insights into the rhetorical strategies and lit...
Constructing Authors and Readers in the Appendices Vergiliana, Tibulliana, and Ouidiana
By examining some early poetic understandings of what it might have meant to be Vergil, Ovid, and Tibullus, this volume explores what those authors meant to near-contemporaries, and what the construction of authorship they were a part of meant to the later western tradition.
The Play about the Antichrist (Ludus de Antichristo)
The Play about the Antichrist (Ludus de Antichristo) was composed around 1160 at the imperial Bavarian abbey of Tegernsee, at a critical point in the power-struggle between the papacy and Emperor Frederick Barbarossa. This new translation and commentary reveals this drama to be strikingly representative of the role that theatrical performance played in shaping contemporary politics, diplomacy, and public opinion. It also shows how drama functioned as an integral component of the educational curricula of elite monastic institutions like Tegernsee, where political administrators and diplomats were trained, and how performance served as a common, connective lingua franca among monasteries in twelfth-century Bavaria. In this new translation, Carol Symes provides the first full and faithful rendering of the play’s dynamic language, maintaining the meter, rhyme scheme, and stage directions of the Latin original and restoring the liturgical elements embedded in the text. Kyle A. Thomas, whose fully-staged production tested the theatricality of this translation, provides a new historical and dramaturgical analysis of the play’s rich interpretive and performative possibilities.
Song
From one of our most innovative singers, a vibrant history of song stretching from Hildegard von Bingen and Benjamin Britten to Björk "Songs can be intensely personal (whether you hear them or sing them) and none of us would choose the same twelve songs as anyone else. My choices are based on decades of performing experience in many different genres, but I hope they will reveal aspects of our common humanity as the story evolves from the Middle Ages to the present." In this celebratory account, author and singer John Potter tells the European story of song. The form has captivated audiences and excited performers for centuries, from the music of the troubadours and the Christian liturgy through classical composers such as Bach and Schumann up to Britten, Berio, and the rise of popular music. Choosing twelve key works, Potter offers a personal tour through this vital tradition, from John Dowland's "Flow My Tears" to George Gershwin's "Summertime." Throughout, he reveals who wrote and sang these joyful masterpieces--and what they mean to singers and audiences today.
Composers in the Middle Ages
A reflection on the idea of the "composer" in the medieval period, including a study of the individuals and groups active in the creation of medieval music. The modern concept of the individual composer is central to accounts of Western music, and continues to represent a critical field of research in musicology. However, this approach cannot be straightforwardly transposed to the Middle Ages, as it does not reflect the complex creative realities of medieval composition, and conflicts with the evidence from extant sources and documentation. This collection, the first full-length study of the subject, questions and revises the concept of the composer for the medieval period through five thema...
