Identity And Locality In Early European Music 1028 1740

This collection presents numerous discoveries and fresh insights into music and musical practices that shaped distinctly localized individual and collective identities in pre-modern and early modern Europe. Contributions by leading and emerging European music experts fall into three areas: plainchant traditions in Aquitania and the Iberian peninsula during the first 700 years of the second millennium; late medieval musical aesthetics, traditions and practices in Paris, Padua, Prague and more generally England, Germany and Spain; and local traditions in Renaissance Augsburg and Baroque Naples and Dresden. In addition to in-depth readings of anonymous musical traditions, contributors provide new details concerning the lives and music of well-known composers such as Adr de Chabannes, Bartolino da Padova, Ciconia, Josquin, Senfl, Alessandro Scarlatti, Heinichen and Zelenka. This book will appeal to a broad range of readers, including chant scholars, medievalists, music historians, and anyone interested in music's place in pre-modern and early modern European culture.

This collection presents numerous discoveries and fresh insights into music and musical practices that shaped distinctly localized individual and collective identities in pre-modern and early modern Europe. Contributions by leading and emerging European music experts fall into three areas: plainchant traditions in Aquitania and the Iberian peninsula during the first 700 years of the second millennium; late medieval musical aesthetics, traditions and practices in Paris, Padua, Prague and more generally England, Germany and Spain; and local traditions in Renaissance Augsburg and Baroque Naples and Dresden. In addition to in-depth readings of anonymous musical traditions, contributors provide new details concerning the lives and music of well-known composers such as Ad?r de Chabannes, Bartolino da Padova, Ciconia, Josquin, Senfl, Alessandro Scarlatti, Heinichen and Zelenka. This book will appeal to a broad range of readers, including chant scholars, medievalists, music historians, and anyone interested in music's place in pre-modern and early modern European culture.

This study uncovers the musical foundations and performance suggestions of books of hours, guides to prayer that were the most popular and widespread books of the late Middle Ages. Exploring a variety of musical genres and sections of books of hours with musical implications, this book presents a richly textured sound world gleaned from dozens of extant manuscript sources from fifteenth-century France. It offers the first overview of the musical content of these handbooks to liturgy and devotional prayer, together with cues that show scribal awareness for the articulation of sacred plainchants. Although books of hours lack musical notation, this survey elucidates the full range of musical genres and styles suggested both within and beyond the liturgical offices prescribed in books of hours. Privileging sound and ritual enactment in the experience of the hours, the survey complements studies of visual imagery that have dominated the category. The book’s interdisciplinary approach within a musical context, and beautiful full-color illustrations, will attract not only specialists in musicology, liturgy, and late medieval studies, but also those more broadly interested in the history of the book, memory, performance studies, and art history.

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, music's value, music's relation to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music.

An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.

Where Heaven and Earth Meet is a Festschrift in honor of Daniel F. Callahan, Professor of History at the University of Delaware. It is an interdisciplinary collection that celebrates and advances research in his principal scholarly interests. One central focus is on the writings of Ademar of Chabannes and what they reveal about heresy, music, warfare, and the Peace of God in the early Middle Ages. Another is on Western religious history (ecclesiastical houses, hagiography, and papal writings), and the collection is rounded out by studies of early Islamic Jerusalem as well as Arabic numismatics. Contributing authors include Professor Callahan’s former classmates, graduate students, colleagues and admirers of his research. The collection will be of interest to researchers in art history, history, musicology, and religion. Contributors are: Bernard S. Bachrach, Daniel F. Callahan, Lawrence G. Duggan, Michael Frassetto, Matthew Gabriele, James Grier, John D. Hosler, Anna Trumbore Jones, Lawrence Nees, Richard R. Ring, Jane T. Schulenburg

Mattias Lundberg investigates the historical role of a deviant psalm-tone, the tonus peregrinus, focusing on its applications in polyphonic music within all major branches of Western liturgy. Throughout the remarkably persistent tradition of applying this melody to polyphony, from the ninth century right up to the twenty-first, coeval music theory is able to shed light on the problems it has posed to modal and tonal practice at various historical stages. The musical settings studied hold up a mirror to the general development of psalmody, concerning practices of organum, diverse regional forms of fauxbourdon, cantus firmus composition, free imitation, parody, fugue, quodlibet, monody, and many other compositional techniques where the unique features of the psalm-tone have necessitated modification of existing practices. The conclusions drawn reveal a musico-liturgical tradition that was not in real danger of extinction until the general decline of Western liturgy that followed in the eighteenth century, at which point the historiography of the tonus peregrinus became a factor stimulating scholarly and musical interest in its alleged pre-Christian origins. Lundberg demonstrates that the succession of works based on the tonus peregrinus often preserved a distinctly conservative musical and theological conception even during periods of drastic liturgical reform.