Medieval Music
-15%
portes grátis
Medieval Music
Meconi, Honey
Taylor & Francis Ltd
07/2011
560
Dura
Inglês
9780754628514
15 a 20 dias
1292
Descrição não disponível.
Contents: Introduction; Part I Plainchant: The performance of plainchant: some preliminary observations of the new era, Lance W. Brunner; Giving voice to Gregorian chant or: coping with modern orthodoxies, Katarina Livljanic. Part II Secular Monophony: Rhythm, meter, and melodic organization in medieval songs, Hans Tischler; The 'not-so-precisely measured' music of the Middle Ages, Hendrik van der Werf; Voices and instruments in medieval French secular music: on the use of literary texts as evidence for performance practice, Sylvia Huot; Johannes de Grocheio on secular music: a corrected text and a new translation, Christopher Page. Part III Polyphony to 1300: The performance of Parisian organum, Edward Roesner; Franco of Cologne on the rhythm of organum purum, Charles M. Atkinson; The Copula according to Johannes de Garlandia, Jeremy Yudkin; Conductus and modal rhythm, Ernest H. Sanders; The performance of ars antiqua motets, Christopher Page. Part IV Mass and Motet after 1300: Representations of the Mass in medieval and Renaissance art, James W. McKinnon; The performing ensemble for English church polyphony, c.1320-c.1390, Roger Bowers; Text underlay in early 15th-century musical manuscripts, Gilbert Reaney. Part V The Polyphonic Chanson: Machaut's 'pupil' Deschamps on the performance of music: voices or instruments in the 14th-century chanson, Christopher Page; The performance of songs in late medieval France: a new source, Christopher Page; Texting in 15th-century French chansons: a look ahead from the 14th century, Lawrence Earp; Embellishment and urtext in the 15th-century song repertories, David Fallows. Part VI Other Matters: Musica recta and musica ficta, Margaret Bent; The origin and early history of proportion signs, Anna Maria Busse Berger; Jerome of Moravia on the Rubeba and Viella, Christopher Page; The 'Arabian influence' thesis revisited, Shai Burstyn; Series bibliography; Name index.
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Contents: Introduction; Part I Plainchant: The performance of plainchant: some preliminary observations of the new era, Lance W. Brunner; Giving voice to Gregorian chant or: coping with modern orthodoxies, Katarina Livljanic. Part II Secular Monophony: Rhythm, meter, and melodic organization in medieval songs, Hans Tischler; The 'not-so-precisely measured' music of the Middle Ages, Hendrik van der Werf; Voices and instruments in medieval French secular music: on the use of literary texts as evidence for performance practice, Sylvia Huot; Johannes de Grocheio on secular music: a corrected text and a new translation, Christopher Page. Part III Polyphony to 1300: The performance of Parisian organum, Edward Roesner; Franco of Cologne on the rhythm of organum purum, Charles M. Atkinson; The Copula according to Johannes de Garlandia, Jeremy Yudkin; Conductus and modal rhythm, Ernest H. Sanders; The performance of ars antiqua motets, Christopher Page. Part IV Mass and Motet after 1300: Representations of the Mass in medieval and Renaissance art, James W. McKinnon; The performing ensemble for English church polyphony, c.1320-c.1390, Roger Bowers; Text underlay in early 15th-century musical manuscripts, Gilbert Reaney. Part V The Polyphonic Chanson: Machaut's 'pupil' Deschamps on the performance of music: voices or instruments in the 14th-century chanson, Christopher Page; The performance of songs in late medieval France: a new source, Christopher Page; Texting in 15th-century French chansons: a look ahead from the 14th century, Lawrence Earp; Embellishment and urtext in the 15th-century song repertories, David Fallows. Part VI Other Matters: Musica recta and musica ficta, Margaret Bent; The origin and early history of proportion signs, Anna Maria Busse Berger; Jerome of Moravia on the Rubeba and Viella, Christopher Page; The 'Arabian influence' thesis revisited, Shai Burstyn; Series bibliography; Name index.
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