The modern invention of medieval music : scholarship, ideology, performance
著者
書誌事項
The modern invention of medieval music : scholarship, ideology, performance
（Musical performance and reception）
Cambridge University Press, 2002
大学図書館所蔵 全3件
注記
Includes bibliographical references and index
内容説明・目次
内容説明
Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes?
目次
- Acknowledgements
- Introduction
- 1. The invention of the voices-and-instruments hypothesis
- 2. The re-invention of the a cappella hypothesis
- 3. Hearing medieval harmonies
- 4. Evidence, interpretation, power and persuasion
- Conclusion
- Notes
- Bibliography
- Index.
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