Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collection.
Muu info
Charts the origins, development and spread of medieval Western European music from late antiquity to the end of the fourteenth century.
Part I:
1. Musical legacies from the ancient world Peter Jeffery;
2.
Origins and transmission of Franco-Roman chant Andreas Pfisterer;
3. Sources
of Romano-Frankish liturgy and music Joseph Dyer;
4. Regional liturgies:
Spanish, Beneventan, Gallican, Milanese Terence Bailey;
5. Nova cantica
Jeremy Llewellyn;
6. Music and prosopography Margot Fassler;
7. The silence
of medieval singers Benjamin Bagby and Katarina Livljanic;
8. Notation I
Thomas Kelly;
9. Tropes Andreas Haug;
10. Sequence Lori Kruckenburg;
11.
Music theory Thomas Christensen;
12. Vernacular song: Lyric Elizabeth Aubrey;
13. Vernacular song: Romance Anne Ibos-Augé;
14. Instruments and their music
Nigel Wilkins;
15. Teaching and learning music Anna-Maria Busse Berger;
16.
Music in drama David Klausner;
17. The sources Stanley Boorman;
18. The
revival of medieval music John Haines;
19. Medieval performance practice
Timothy McGee;
20. Issues in the modern performance of medieval music John
Potter; Part II:
21. Institutions and foundations Alejandro Planchart;
22.
Notation II Lawrence Earp;
23. Rhythm and metre John Caldwell;
24. Tonal
organisation in polyphony, 1150-1400 Peter Lefferts;
25. Liturgy and
plainchant 1150 1570 Roman Hankeln;
26. Early polyphony James Grier;
27.
Notre Dame Edward Roesner;
28. Liturgical polyphony after 1300 Karl Kügle;
29. The emergence of polyphonic song Mark Everist;
30. Vernacular song:
Polyphony Elizabeth Eva Leach;
31. The thirteenth-century motet Rebecca
Baltzer;
32. The fourteenth-century motet Alice Clark;
33. Latin song I:
songs and songbooks from the ninth to the thirteenth century Helen Deeming;
34. Latin song II: the music and texts of the conductus Thomas Payne;
35.
Trecento I: secular music Michael Cuthbert;
36. Trecento II: sacred music and
motets in Italy and the East from 1300 until the end of the schism Michael
Cuthbert;
37. Ars subtilior Anne Stone;
38. Citational practice in the later
Middle Ages Yolanda Plumley;
39. 'Medieval music' or 'early European music'?
Reinhard Strohm.
Mark Everist is Professor of Music at the University of Southampton. His previous publications include Mozart's Ghosts: Haunting the Halls of Musical Culture (2013), The Cambridge Companion to Medieval Music (Cambridge 2011), and French Motets in the Thirteenth Century (Cambridge 1994). Thomas Forrest Kelly is Morton B. Knafel Professor of Music at Harvard University, and has published numerous works including Early Music: A Very Short Introduction (2011), The Exultet in Southern Italy (1997) and the Kinkeldey Award-winning The Beneventan Chant (Cambridge 1989).
