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This is the first full-length study of the vernacular motet in thirteenth-century France. The motet was the most prestigious type of music of that period, filling a gap between the music of the so-called Notre-Dame School and the Ars Nova of the early fourteenth century. This book takes the music and the poetry of the motet as its starting-point and attempts to come to grips with the ways in which musicians and poets treated pre-existing material, creating new artefacts. The book reviews the processes of texting and retexting, and the procedures for imparting structure to the works; it considers the way we conceive genre in the thirteenth-century motet, and supplements these with principles derived from twentieth-century genre theory. The motet is viewed as the interaction of literary and musical modes whose relationships give meaning to individual musical compositions.
First full comprehensive guide to one of the most important genres of music in the Middle Ages.
It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad cultural contexts. The origins of this consensus lie in a decisive reorientation of the field that began approximately four decades ago. For much of the twentieth century, research on medieval music had focused on the discovery and evaluation of musical and theoretical sources. The 1970s and 1980s, by contrast, witnessed calls for broader methodologies and more fully contextual approaches that in turn anticipated the emergence of the so-called 'New Musicology'. The fifteen essays in the present collection explore three interrelated areas of inquiry that proved particularly significant: the liturgy, sources (musical and archival), and musical symbolism. In so doing, these essays not only acknowledge past achievements but also illustrate how this broad, interdisciplinary approach remains a source for scholarly innovation.
Polyphony associated with the Parisian cathedral of Notre Dame marks a historical turning point in medieval music. Yet a lack of analytical or theoretical systems has discouraged close study of twelfth- and thirteenth-century musical objects, despite the fact that such creations represent the beginnings of musical composition as we know it. Is musical analysis possible for such medieval repertoires? Catherine A. Bradley demonstrates that it is, presenting new methodologies to illuminate processes of musical and poetic creation, from monophonic plainchant and vernacular French songs, to polyphonic organa, clausulae, and motets in both Latin and French. This book engages with questions of text-music relationships, liturgy, and the development of notational technologies, exploring concepts of authorship and originality as well as practices of quotation and musical reworking.
Spanning a millennium of musical history, this monumental 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 the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.
First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
"This work provides an interdisciplinary and historical exploration of various techniques leveraging writing in order to capture sound. Collectively, the essays in this work focus on questions of language and expression as much as the method and theory of both sound and writing"--
"Medieval Obscenities examines the complex and contentious role of the obscene - what is offensive, indecent or morally repugnant - in medieval culture from late antiquity through to the end of the middle ages in western Europe. Its approach is multidisciplinary, its methodologies divergent and it seeks to formulate questions and stimulate debate." "The essays examine topics as diverse as Norse defecation taboos, the Anglo-Saxon sexual idiom, sheela-na-gigs, impotence in the church courts, bare ecclesiastical bottoms, rude sounds and dirty words, as well as the modern reception and representation of the medieval obscene. The volume demonstrates not only the vitality of medieval obscenity, but its centrality to our understanding of medieval life."--Jacket.