Medieval music and the art of memory

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書誌事項

Medieval music and the art of memory

Anna Maria Busse Berger

University of California Press, [2019], c2005

  • : pbk

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注記

"First paperback printing 2019"--T.p. verso

Includes bibliographical references (p. 255-279) and index

内容説明・目次

内容説明

Winner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.

目次

Contents List of Illustrations List of Tables List of Music Examples Acknowledgments List of Abbreviations Introduction Chapter 1. Prologue: The First Great Dead White Male Composer Part 1. The Construction of the Memorial Archive Chapter 2. Tonaries: A Tool for Memorizing Chant Chapter 3. Basic Theory Treatises Chapter 4. The Memorization of Organum, Discant, and Counterpoint Treatises Part 2. Compositional Process in Polyphonic Music Chapter 5. Compositional Process and the Transmission of Notre Dame Polyphony Chapter 6. Visualization and the Composition of Polyphonic Music Conclusion Bibliography Index

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