Citation and authority in medieval and Renaissance musical culture : learning from the learned
著者
書誌事項
Citation and authority in medieval and Renaissance musical culture : learning from the learned
（Studies in medieval and Renaissance music / general editors, Tess Knighton and Andrew Wathey, 4）
Boydell Press, 2005
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注記
Includes bibliographical references (p. [225]-236) and index
内容説明・目次
内容説明
Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.
Essays in honour of Margaret Bent.
The chapters of this book probe the varied functions of citation and allusion in medieval and renaissance musical culture. At its most fundamental level musical culture relied on shared models for musical practice, used by singers and composers as they learned their craft. Several contributors to this volume investigate general models, which often drew on earlier musical works, internalized in the process of composers' own training as singers.
In written theoretical musical pedagogy, conversely, citation of authority is deliberate and intentional. The adaptation of accepted wisdom in theoretical treatises was the means by which newer authors stamped their own authority. Further kinds of citation occur in specific musical texts, either within the words set to music or in the music itself.
The diverse functions of citation and allusion for the creator, reader, scribe, performer and listener are here given due consideration. In doing so, this volume is a fitting tribute to Margaret Bent, whose pedagogy, publications, and presence are honoured in this Festschrift.
Contributors: SUSAN RANKIN, GILLES RICO, CHRISTIAN THOMAS LEITMEIR, BARBARA HAGGH, LEOFRANC HOLFORD-STREVENS, ANDREW WATHEY, KEVIN BROWNLEE, ALICE V. CLARK, LAWRENCE M. EARP, VIRGINIA NEWES, JOHN MILSOM, DAVID HOWLETT, REINHARD STROHM, THEODOR DUMITRESCU, CRISTLE COLLINS JUDD, BONNIE J. BLACKBURN
目次
Introduction: Learning, Citation and Authority in Musical Culture before 1600 - Suzannah Clark and Elizabeth Eva Leach
'Naturalis Concordia vocum cum planetis': Conceptualizing the Harmony of the Spheres in the Early Middle Ages - Susan K Rankin
'Auctoritas cereum habet nasum': Boethius, Aristotle, and the Music of the Spheres in the Thirteenth and Early Fourteenth CenturiesCenturies - Gilles Rico
Types and Transmissions of Musical Examples in Franco's Ars cantus mensurabilis musicae - Christian Leitmeir
Ciconia's Citations in Nova musica: New Sources as Biography - Barbara Haggh-Huglo
Fauvel Goes to School - Leofranc Holford-Strevens
Auctoritas and the Motets of Philippe de Vitry - Andrew Wathey
Fire, Desire, Duration, Death: Machaut's Motet 10 - Kevin Brownlee
Machaut Reading Machaut: Self-Borrowing and Reinterpretation in Motets 8 and 21 - Alice V. Clark
Declamatory Dissonance in Machaut - Lawrence Earp
'Qui bien aimme a tart oublie':Machanut's Lay de plour in Context - Virginia Newes
'Imitatio', 'Intertextuality', and Early Music - John Milsom
Apollinis eclipsatur: Foundation of the Collegium musicorum - David R. Howlett
De plus en plus: Numbers, Binchois and Ockeghem - Reinhard Strohm
An English adoption of the Burgundian chanson - Theodor Dumitrescu
Learning to compose in the 1540s: Gioseffo Zarlino's Si bona suscepimus - Cristle Collins Judd
The Eloquence of Silence: Tacet Inscriptions in the Alamire Manuscripts - Bonnie Blackburn
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