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Netherlandish Books offers a unique overview of what was printed during the fifteenth and sixteenth centuries in the Low Countries. This bibliography lists descriptions of over 32,000 editions together with bibliographical references, an introduction and indexes. It draws on the analysis of collections situated in libraries throughout the world. This is the first time that all the books published in the various territories that formed the Low Countries are presented together in a single bibliography. Netherlandish Books is an invaluable research tool for all students and scholars interested in the history, culture and literature of the Low Countries, as well as historians of the early modern book world. Customers interested in this title may also be interested in French Vernacular Books, edited by Andrew Pettegree, Malcolm Walsby and Alexander Wilkinson.
"Netherlandish Books offers a unique overview of what was printed during the fifteenth and sixteenth centuries in the Low Countries. This bibliography lists descriptions of over 32,000 editions together with bibliographical references, an introduction and indexes. It draws on the analysis of collections situated in libraries throughout the world. This is the first time that all the books published in the various territories that formed the Low Countries are presented together in a single bibliography. Netherlandish Books is an invaluable research tool for all students and scholars interested in the history, culture and literature of the Low Countries, as well as historians of the early modern book world."--
A critical study of the relationship between poetics and music theory in medieval culture and aesthetics. Musica Naturalis delivers the first systematic account of speculative music theory as a discursive horizon for literary poetics. The title refers to the late medieval French poet Eustache Deschamps, whose 1392 treatise on verse writing, L'Art de Dictier, famously casts verse as “natural music” in explicit distinction to song, which Deschamps defines as “artificial.” Philipp Jeserich links the significance of the speculative branch of medieval musicology to literary theory and literary production, opening up a field of study that has been largely neglected. Beginning with Augustine and Boethius, he traces the discourse of speculative music theory to the late fifteenth century, giving attention to medieval Latin and vernacular sources. Ultimately, Jeserich calls for the conservatism of Deschamps’s poetics and develops a new perspective on the poetics and poetry of the Grands rhétoriqueurs. Given Jeserich's reliance on the intellectual inheritance of late medieval French poetics and poetry, this book will appeal to English-speaking specialists of Old and Middle French, as well as scholars of the French Renaissance. It will also interest English-language medievalists of several other disciplines: intellectual historians and specialists of English, as well as scholars of Italian and Iberian literature.
A detailed critical and historical investigation of the development of musical notation as a powerful system of symbolic communication.
The Sound of Medieval Song is a study of how sacred and secular music was actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period. Detailed descriptions of the types and uses of improvised ornament indicate that in performance the music was highly ornate, and included trill, gliss, reverberation, pulsation, pitch inflection, non-diatonic tones, and cadenza-like passages of various lengths. The treatises also provide evidence of stylistic differences in various geographical locations. McGee draws conclusions about the kind of vocal production and techniques necessary in order to reproduce the music as it was performed during the Middle Ages, aligning the practices much more closely with those of the Middle East than has ever been previously acknowledged.
Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume two include: The Chirk Castle partbooks; Isabella d'Este and Lorenzo da Pavi, 'master instrument maker'; and Johannes de Garlandia on organum in speciali.
First published in 1998, this volume brings together the most part of the author’s work on medieval polyphony. The most significant advance in music during the period in the High Gothic was the development of a system of rhythm and of its notation, the modern understanding of which was to a considerable extent obscured by an undue emphasis on the so-called rhythmic modes. The investigation of this topic forms the centre of this book, and a related essay deals with rhythmic Latin poetry. Other pieces survey the accomplishments of Europe’s first great composer and the flourishing of the medieval motet, whose rise he stimulated, while several essays focus on English polyphony, and on what remains of the motets of Philippe de Vitry, a major figure in Parisian intellectual circles of the 14th century.
Betr. Manuskripte der Universitätsbibliothek Basel, S. 193-215.
The ars antiqua began to be mentioned in writings about music in the early decades of the fourteenth century, where it was cited along with references to a more modern "art", an ars nova. It was understood by those who coined the notion to be rooted in the musical practices outlined in the Ars musica of Lambertus and, especially, the Ars cantus mensurabilis of Franco of Cologne. Directly or indirectly the essays collected in this volume all address one or more of the issues regarding ars antiqua polyphony-questions relating to the nature and definition of genre; the evolution of the polyphonic idiom; the workings of the creative process including the role of oral process and notation and the continuum between these extremes; questions about how this music was used and understood; and of how it fits into the intellectual life of the twelfth and thirteenth centuries. Some of the essays ask new questions or approach long-standing ones from fresh perspectives. All, however, are rooted in a line of scholarship that produced a body of writing of continuing relevance.
Incunabula of the Low Countries (ILC) is a census of fifteenth-century books printed in the area of the present-day Netherlands and Belgium. It lists 2,229 editions in more than 14,300 copies preserved in hundreds of libraries, museums, and archives all over the world, but mainly in Europe and the USA. The entries for this census have been derived from the Incunabula Short Title Catalogue (ISTC), the database of incunabula compiled at the British Library. They combine research on Low Countries incunabula carried out by Gerard van Thienen, curator at the Koninklijke Bibliotheek in The Hague, with data assembled by ISTC form other sources. ISTC entries were further edited, indexed and prepared for publication by John Goldfinch at the British Library. Campbell's Annales of 1874, the first bibliography of incunabula printed in the Low Countries with 1794 entries, was followed by a number of supplements of increasing complexity, the most extensive being published by M.E. Kronenberg in 1956. All the former additions and emendations, together with additions not otherwise listed before are now brought together and included in one sequence in ILC.