With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods. (mais…)
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 techniques – 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. Rather than presenting merely a chronological view of the history of medieval music, the volume instead focuses on technical and cultural aspects of the subject. Over nineteen informative chapters, fifteen world-leading scholars give a perspective on the music of the Middle Ages that will serve as a point of orientation for the informed listener and reader, and is a must-have guide for anyone with an interest in listening to and understanding medieval music.
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. (mais…)
An introduction to the principal forms and orders of Western liturgy between about 900 and 1700, this book explains their nature and basic historical origin, and presents in detail the contents and orders of principal services as well as additional and special forms of worship. This book emphasizes the mainstream of Western liturgy derived from the medieval Roman Rite as found in secular and monastic churches. After the Reformation it concentrates on the rites of the Roman Catholic church and the Church of England. Harper discusses the nature of liturgy and provides an historical summary and individual chapters on medieval churches and their communities, the Christian calendar, medieval liturgical books, the Psalms, the Office, the Mass, Processions and Additional Observances, Holy Week and Easter, the Tridentine Rite, and the English Book of Common Prayer. Harper concludes with two chapters which raise the problems of establishing the order of a liturgical service, and introduces selected medieval sources accessible in facsimile or edition. A select, annotated bibliography and a glossary of ecclesiastical and liturgical terms are included. (mais…)
O Mediae Vox Ensemble esteve na minha ilha em concerto integrado no festival Musicatlântico. Trata-se de um ensemble feminino que se dedica à música medieval, com destaque para a música de Hildegard von Bingen que, como se sabe, era uma abadessa música entre outras ciências que cultivava. Destacou-se por uma grande expressividade nas suas obras. (mais…)