Music and Cultural Politics in Greek and Chinese Societies by
The first part of a three-volume set that focuses on the intriguing but often underexplored interaction between music and song-making, on the one hand, and practices of cultural politics, on the other. Given the abundance of relevant evidence with regard to Greek antiquity, the first volume investigates major aspects of this intricate sociocultural phenomenon exclusively in ancient Greek societies, with a special emphasis on archaic and classical song-making.
Music in Ancient Greece and Rome by
Provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them
Music in Ancient Israel/Palestine by
Contains the first study of the musical culture of ancient Israel/Palestine based primarily on the archaeological record, exploring the music of the Holy Land region of the Middle East, and tracing its form and development from its beginning in the Stone Age to the fourth century A.D.
Music in Ancient Judaism and Early Christianity by
In Music in Ancient Judaism and Early Christianity, John Arthur Smith presents the first full-length study of music among the ancient Israelites, the ancient Jews and the early Christians in the Mediterranean lands during the period from 1000 BCE to 400 CE. He considers the physical, religious and social setting of the music, and how the music was performed.
The Study of Musical Performance in Antiquity: Archaeology and Written Sources by
This collection of eleven essays provides the reader with some valuable insights into the richness of sources dealing with music and musical performance scattered over 3000 years and covering a wide range of geographies, from Syria to Iberia, through Greece and Rome.
Ancient Greek Music by
This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancientmelodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greekmusic, technology and performance culture and the general history of musicology.
Carl Engel by
Long before music archaeology became a discipline, Carl Engel was the first scholar to undertake revolutionary reserch into our musical past, taking into account all sources available at the time. Being thoroughly ahead of the times, he compared the historical sources with traditional music from all over the world in order to make interpretations of the musical past. An indispensable tool for everyone interested in the study of past music cultures.
Music in Ancient Greece and Rome by
Provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them
Music in Ancient Judaism and Early Christianity by
In Music in Ancient Judaism and Early Christianity, John Arthur Smith presents the first full-length study of music among the ancient Israelites, the ancient Jews and the early Christians in the Mediterranean lands during the period from 1000 BCE to 400 CE. He considers the physical, religious and social setting of the music, and how the music was performed.
Music in Antiquity by
Music was one component of the cultural continuum that developed in the contiguous civilizations of the ancient Near East and of Greece and Rome. This book covers the range and gamut of this symbiosis, as well as scrutinizes archaeological findings, texts, and iconographical materials in specific geographical areas along this continuum.
The Cultural Context of Medieval Music by
Addresses the mental landscape surrounding music that especially, was sung and experienced in the Middle Ages.
Early Middle Ages to 1300 by
Presents an informed, timely picture of music from the fourth through the fourteenth century A.D. It begins with a discussion of Christian chang in the Mediterranean and goes on to cover Gregorian chant, liturgical drama, medieval song, instrumental music, and early polyphony down to the monumental organa composed at the cathedral of Notre Dame in the twelfth century.
Improvisation and Inventio in the Performance of Medieval Music by
An innovative and groundbreaking approach to medieval music as living repertoire. Provides philosophical frameworks, primary-source analysis, and clear actionable practices and exercises aimed at recovering the improvisation and inventive aspects of medieval music for contemporary musicians. Explores the utilization of musical models, the inventive implications of medieval notation, and the ways in which memory, mode, rhetoric, and primary source paradigms inform the improvisation process in both monophonic and polyphonic music in the Middle Ages.
Medieval Music by
Surveys the history and development of music in the Western world from its roots in early Christian liturgy up to the initial glimmerings of the Renaissance in the fifteenth century.
Music in Medieval Europe by
Combines a cultural history of the Middle Ages and in-depth scholarship on the music and leading composers active during the period. It includes an integrated anthology of key works with approachable and enlightening explanations, making it easily accessible for both beginning and advanced students.
Music in the Medieval World by
Examines the music of the medieval world in light of the technical and esthetic elements that combine to forge it. Seeks to help readers appreciate medieval music by presenting it as the sympathetic correlation of artistic craftsmanship and philosophical development.
Words and Music in the Middle Ages by
This book examines the relation of words and music in England and France during the three centuries following the Norman Conquest. The basic material of the study includes the chansons of the troubadoures and trouveres and the varied Latin songs of the period. In addition to these 'lyric forms, the author discusses the relations of music and poetry in dance-song, in narrative and in the ecclesiastical drama.
Writing Sounds in Carolingian Europe by
Musical notation has not always existed, in the West, musical notation traditions often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations.
The Cambridge Companion to Medieval Music by
From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the key aspects of medieval music. Divided into three main sections, the book first of all discusses repertory, styles, and techniqoes - the key areas of traditional music histories, next taking a topographical view of the subject - from Italy, German-speaking lands and the Iberian Peninsula; and concludes with chapters on such issues as liturgy, vernacular poetry and reception.
The Cambridge History of Medieval Music by
This volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of liturgy, to the riches of the vernacular song of the trouveres and troubadours.
Courtly Love Songs of Medieval France by
Examines the legacy of the medieval poet composers of Northern France, the trouveres. For many years problems and difficulties concerning the surviving melodies have prevented us from accessing these songs. Many of these problems are addressed here bringing us closer to a true understanding of the repertoire.
The Flower of Paradise by
Examines the interplay of Marian devotional and secular poetics within polyphonic music from ca. 1200 to ca. 1500. Through case studies of works that demonstrate a specific symbolic resonance between Marian devotion and secular song, the book illustrates the distinctive ethos of this period in European culture.
Giving Voice to Love by
Investigates French and Occitan "courtly love" songs from the twelfth to fourteenth centuries and explores the paradoxical relationship of music and self-expression in the Middle Ages.
Performing Al-Andalus: Music and Nostalgia Across the Mediterranean by
Explores three musical cultures that claim a connection to the music of medieval Iberia, the Islamic kingdom of al-Andalus, known for its complex mis of Arab, North African, Christian, and Jewish influences. Traces the movements of musicians, songs, histories, and memories circulating around the Mediterranean.
With Voice and Pen by
Seventeen classic essays trace the creation and spread of song, sacred and secular, through oral tradition and writing, in the European Middle Ages.
Music and Musicians in Renaissance Cities and Towns by
This interdisciplinary collection examines musical culture in urban centres in Renaissance Europe and the New World. Although musicologists have indeed already investigated such topics, lack of familiarity with (urban) historical methodologies has often resulted in failure to explore fully the ways in which the urban environment had an impact on musical activity of all kinds, neither is this question adequately addressed by urban historians. This book aims to integrate musicological and urban-historical approaches.
Music in the Renaissance by
Shows how music and other forms of expression were adapted to changing tastes and ideals in Renaissance courts and churches. Giving due weight to sacred, secular and instrumental genres. Invites readers to consider who made music, who sponsored and listened to it, who preserved and owned it, and what social and aesthetic purposes it served. While focusing on broad themes such as music and the literary imagination and the art of improvisation, he also describes Europeans' musical encounters with other cultures and places.
A Performer's Guide to Renaissance Music by
This guide is composed of focused chapters on performance practice issues such as vocal and choral music, various types of ensembles, profiles of specific instruments, instrumentation, performance practice issues, theory, dance, refional profiles of Renaissance music, and guidelines for directors. The format addresses the widest possible audience for early music, including amateur and professional performers, musicologists, theorists, and educators.
Reading Renaissance Music Theory by
Offers a new perspective on a central group of music theory treatises that have long formed a background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis, and reflexively the ways in which modern theory has been mapped on to that practice.
Reforming Music by
This book describes the birth of Lutheran Chorales and Calvinist Psalmody, of how music was practised by Catholic nuns. Lutheran schoolchildren, battling Huguenots, missionaries and martyrs, cardinals at Trent and heretics in hiding, at a time when Palestrina, Lasso and Talils were composing their masterpieces, and forbidden songs were concealed, smuggled and sung in taverns and princely courts alike. The music of the Reformation, thus was music reformed , music reforming and the reform of music, this book shows what the Reformation sounded like, and how music became one of the protagonists in the religious conflicts of the sixteenth century.
Companion to Music in the Age of the Catholic Monarchs by
Offers a major new study that deepens and enriches our understanding of the forms and functions of music that flourished in late medieval Spanish society. The fifteen essays written by leading authorities in the field presents a synthesis based on recently discovered material that throws new light on different aspects of musical life during the reign of Ferdinand and Isabel, sacred and secular music-making in royal and aristocratic circles, the cathedral music environment, liturgy and power, musical connectiona with Rome, Portugal and the New World, theoretical and unwritten musical practices, women as patrons and performers, and the legacy of Jewish musical tradition.
Humanism and the Reform of Sacred Music in Early Modern England by
This book challenges the existing studies of Merbecke based on the narrow theological approcah to the Reformation. Furthermore, it suggests a re-thinking of the prevailing interpretative framework of Reformation musical history.
Improvising Early Music by
Studying improvised music is always a challenge, due to its volatilty and unpredictability. But what about studying improvisation from before the age of sound recordings? In this book, three experts give their view on aspects of musical improvisation in the late medieval renaissance, and early baroque periods. Historical sources show us how improvisation was an intergral part of music education and how closely improvisation and composition were linked. This gives new insights into the way music was played in its original historical context and a new way to look at written sccores from the past.
Music theory in Mamluk Cairo by
The only theoretical text of any substance that can be considered representative of musicological discourse in Cairo during the first half of the fourteenth century. It is important because of the richness of the information it provides with regard to modal and rhythmic structures, and also because of the extent to which the definitions it offers differ from those set forth in an interrelated series of major theoretical works in both Arabic and Persian that span the period from the middle of the thirteenth century to the late fifteenth.
A Performer's Guide to Renaissance Music by
This guide is composed of focused chapters on performance practice issues such as vocal and choral music, various types of ensembles, profiles of specific instruments, instrumentation, performance practice issues, theory, dance, refional profiles of Renaissance music, and guidelines for directors. The format addresses the widest possible audience for early music, including amateur and professional performers, musicologists, theorists, and educators.
Reforming Music by
This book describes the birth of Lutheran Chorales and Calvinist Psalmody, of how music was practised by Catholic nuns. Lutheran schoolchildren, battling Huguenots, missionaries and martyrs, cardinals at Trent and heretics in hiding, at a time when Palestrina, Lasso and Talils were composing their masterpieces, and forbidden songs were concealed, smuggled and sung in taverns and princely courts alike. The music of the Reformation, thus was music reformed , music reforming and the reform of music, this book shows what the Reformation sounded like, and how music became one of the protagonists in the religious conflicts of the sixteenth century.
The Science and Art of Renaissance Music by
Covers diverse themes including, music in Renaissance culture, problems of theory as well as the Italian madrigal in the sixteenth century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the nineteenth century's views of early music.
Sounding Objects by
Concerned with ways in which musical culture provided poers with a rich, nuanced vocabularly for reflecting on their own art and its role in courtly life, the civic arena, and salon society. Poets not only depicted the world of musical practice but also appropriated it, using musical instruments figuratively to establish their literary identites. Drawing on music treatises and archival sources as well as poems, paintings, and engravings, this unique study aims to enrich our understanding of the interplay of poetry, music, and art in this period, and highlights the importance of musical materiality to Renaissance culture.