Companion to medieval and renaissance music

著者

書誌事項

Companion to medieval and renaissance music

edited by Tess Knighton and David Fallows

Oxford University Press, 1997

  • : pbk

タイトル別名

Companion to medieval & renaissance music

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注記

Originally published: London : J.M. Dent, 1992

Includes bibliographical references and index

内容説明・目次

内容説明

The years since the early music revival gathered momentum in the 1960s and 70s have witnessed many new developments in the field of pre-Baroque music: some revelatory recordings and concert performances have opened our ears to a new range of possible sound worlds for music of this period, and scholars have made discoveries that in many ways challenge the accepted views about this until recently neglected end of the repertory. Much pre-1600 music, the more so the further we go back in time, sound not only unfamiliar but also strange to modern ears accustomed to the harmonies and rhythms that later came to dominate the Western musical tradition. How to account for this strangeness and how to weave it into our own musical experience are questions that confront us whenever we attempt to draw nearer to the music: its beauty is readily appreciated, but its meaning is often elusive. David Fallows and Tess Knighton, scholars and critics in the field of medieval and Renaissance music, invited a number of international researchers and performers to contribute short essays on some of the most intriguing aspects of the subject. The aim was not so much a comprehensive reference book, although the Glossary gives brief definitions of terms and composer biographies, nor a strictly chronological survey, though the Chronology provides an overview of the main developments of the period, for these basic tools are already available. Rather, the Companion to Medieval and Renaissance Music, spanning over eight centuries of music-making, hopes to broaden and stimulate the reader's interest by discussing issues of live debate such as the original context for the music, how it was composed, and the ways in which it was performed. What was it like to be a composer in the Middle Ages? Can we appreciate the difference between a good and a bad piece of medieval polyphony? Why did certain musical genres flourish and others fall into disuse? What can surviving documents or pictures or the musical manuscripts themselves tell us about how the music was performed, listened to, and appreciated during the period? The essays consider a wide range of the kind of evidence from which scholars and performers have to draw their conclusions and make the decisions that affect the ways in which the music can be brought back to life today.

目次

  • Illustrations
  • Music examples
  • Abbreviations
  • Introduction
  • Contributors
  • I: THE MUSIC OF THE PAST AND THE MODERN EAR
  • 1. The good, the bad, and the boring
  • 2. Value Judgements in music of the Renaissance
  • 3. The English a cappella heresy
  • 4. Going down on record
  • 5. The work is not the performance
  • 6. Beyond authenticity
  • 7. Hard-sell, scholarship, and silly titles
  • II: ASPECTS OF MUSIC AND SOCIETY
  • 8. Centre and periphery: mainstream and provincial music
  • 9. The meeting of sacred ritual and secular piety: endowments for music
  • 10. Ritual reflections
  • 11. Musicus and cantor
  • 12. A day in the life of Francisco de Penalosa
  • 13. A portrait of Sir Henry Unton
  • 14. Women's history and early music
  • III: QUESTIONS OF FORM AND STYLE
  • GENRES: VOCAL
  • 15. Chant, or the politics of inscription
  • 16. Monophonic song: quesions of category
  • 17. Early Western polyphony
  • 18. The late-medieval motet
  • 19. Mass polyphony
  • 20. Polyphonic song
  • 21. Genre and function: some thoughts on Italian secular vocal music in the sixteenth century
  • GENRES: INSTRUMENTAL
  • 22. Fourteenth- and fifteenth-century keyboard music
  • 23. Plucked instruments: silver tones of a golden age
  • 24. The medieval fiddle: reflections of a performer
  • 25. On the trail of ensemble music in the fifteenth century
  • 26. Wind ensembles in the Renaissance
  • TECHNIQUES OF COMPOSITION:
  • 27. Musical design and the rise of the cyclic Mass
  • 28. Borrowed music: 'Allez regrets' and the use of pre-existent material
  • IV: USING THE EVIDENCE
  • 29. Music and pictures in the Middle Ages
  • 30. Music in Italian Renaissance painting
  • 31. Echoes of the past in the present
  • 32. Surviving instruments
  • 33. Unwritten and written music
  • 34. Researching the past: archival studies
  • 35. A manuscript case-study
  • V: PRE-PERFORMANCE DECISIONS
  • 36. The editor: diplomat or dictator?
  • 37. Mode
  • 38. Musica ficta
  • 39. Renaissance pitch
  • 40. Is underlay necessary?
  • 41. Restored pronunciation
  • 42. Finding the right context: where to perform early music
  • VI: PERFORMANCE TECHNIQUES
  • 43. Framing the life of the words
  • 44. Reconstructing lost voices
  • 45. Pythagoras at the forge: tuning in early music
  • 46. Tempo to 1500
  • 47. Tempo and tactus after 1500
  • 48. Divisions in Renaissance music
  • 49. 'Perfect' instruments
  • Chronology
  • Glossary
  • Index

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