Music Myth And Story In Medieval And Early Modern Culture

The complex relationship between myths and music is here investigated.

A detailed study of the sight-singing method introduced by the 11th-century monk Guido of Arezzo, in its intellectual context.

The notions of other peoples, cultures, and natural conditions have always been determined by the epistemology of imagination and fantasy, providing much freedom and creativity, and yet have also created much fear, anxiety, and horror. In this regard, the pre-modern world demonstrates striking parallels with our own insofar as the projections of alterity might be different by degrees, but they are fundamentally the same by content. Dreams, illusions, projections, concepts, hopes, utopias/dystopias, desires, and emotional attachments are as specific and impactful as the physical environment. This volume thus sheds important light on the various lenses used by people in the Middle Ages and the early modern age as to how they came to terms with their perceptions, images, and notions. Previous scholarship focused heavily on the history of mentality and history of emotions, whereas here the history of pre-modern imagination, and fantasy assumes center position. Imaginary things are taken seriously because medieval and early modern writers and artists clearly reveal their great significance in their works and their daily lives. This approach facilitates a new deep-structure analysis of pre-modern culture.

Where do myths come from? What is their function and what do they mean? In this Very Short Introduction Robert Segal introduces the array of approaches used to understand the study of myth. These approaches hail from disciplines as varied as anthropology, sociology, psychology, literary criticism, philosophy, science, and religious studies. Including ideas from theorists as varied as Sigmund Freud, Claude Levi-Strauss, Albert Camus, and Roland Barthes, Segal uses the famous ancient myth of Adonis to analyse their individual approaches and theories. In this new edition, he not only considers the future study of myth, but also considers the interactions of myth theory with cognitive science, the implications of the myth of Gaia, and the differences between story-telling and myth. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The Greek language has a written history of more than 3,000 years. While the classical, Hellenistic and modern periods of the language are well researched, the intermediate stages are much less well known, but of great interest to those curious to know how a language changes over time. The geographical area where Greek has been spoken stretches from the Aegean Islands to the Black Sea and from Southern Italy and Sicily to the Middle East, largely corresponding to former territories of the Byzantine Empire and its successor states. This Grammar draws on a comprehensive corpus of literary and non-literary texts written in various forms of the vernacular to document the processes of change between the eleventh and eighteenth centuries, processes which can be seen as broadly comparable to the emergence of the Romance languages from Medieval Latin. Regional and dialectal variation in phonology and morphology are treated in detail.

"Brings together the disciplines of art, music, and history to explore the importance of the past to conceptions of the present in the central Middle Ages"--Provided by publisher.

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.

This book is an introduction the Japanese history, culture, and society from 1185 - the beginning of the Kamakura period - through the end of the Edo period in 1868.