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Leo Treitler's seventeen classic essays trace the creation and spread of song (cantus), sacred and secular, through oral tradition and writing, in the European Middle Ages. The author examines songs in particular - their design, their qualities and character, their expressive meanings, and their adaptation to their communal and ritual roles - and explores the chances for, and the obstacles to, our understanding of traditions that were alive a thousand years ago. Ranging from c. 900 (when the written transmission of medieval songs began) to 1200, Treitler shows how the earlier, purely oral traditions can be examined only through the lens of what has been captured in writing, and focuses on the invention and uses of writing systems for representing these oral traditions. Each of these seminally influential essays has been revised to take account of recent developments, and is prefaced with a new introduction to highlight the historical issues. The accompanying CD contains performances of much of the music discussed.
George Herbert (1593-1633) was an Anglican priest, poet and essayist--truly one of the most profound spiritual masters in the English tradition. His spirituality was a synthesis of Evangelical and Catholic piety.
Provocative and timely, Disciplining Music confronts a topic that has sparked considerable debate in recent years: how do musicians and music scholars "discipline" music in their efforts to confer order and meaning on it? This collection of essays addresses this issue by formulating questions about music's canons—rules that measure and order, negotiate cultural constraints, reconstruct the past, and shape the future. Written by scholars representing the fields of historical musicology, ethnomusicology, and music theory, many of the essays tug and push at the very boundaries of these traditional division within the study of music. "Fortunately, in a blaze of good-humored . . . scholarship, [this] book helps brains unaccustomed to thinking about the future without jeopardizing the past imagine the wonder classical-music life might become if it embraced all people and all musics."—Laurence Vittes, Los Angeles Reader "These essays will force us to rethink our position on many issues. . . [and] advance musicology into the twenty-first century."—Giulio Ongaro, American Music Teacher With essays by Katherine Bergeron, Philip V. Bohlman, Richard Cohn and Douglas Dempster, Philip Gossett, Robert P. Morgan, Bruno Nettl, Don Michael Randel, Ruth A. Solie, and Gary Tomlinson.