Download Free Counterpoint And Compositional Process In The Time Of Dufay Book in PDF and EPUB Free Download. You can read online Counterpoint And Compositional Process In The Time Of Dufay and write the review.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.
During the 1950s and 1960s, Austro-German scholars made decisive advances in developing concepts to account for harmonic processes in late medieval music. Despite the considerable potential these ideas hold for analysis and criticism of early music, they have hitherto exerted little influence outside their countries of origin. In order to render this valuable literature more immediately accessible to English-speaking students and scholars, this book presents translations of twelve seminal articles that originally appeared during the years 1948-1967, along with a comprehensive introductory chapter detailing the evolution of competing theories and terminology.
Musica ficta is the practice of sharpening or flattening certain notes to avoid awkward intervals in medieval and Renaissance music. This collection gathers Margaret Bent's influential writings on this controversial subject from the past 30 years, along with an extensive author's introduction discussing the current state of scholarship and responding to critics. Also includes 25 musical examples.
Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.
The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.
A re-evaluation of the Latin-texted motet during the age of Du Fay.
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).
An exploration of what self-referential compositions reveal about late medieval musical networks, linking choirboys to canons and performers to theorists.
A unique capacity of measured polyphony is to give precisely fixed places not only to musical notes, but also to individual words in relation to them and each other. The Motet in the Late Middle Ages offers innovative approaches to the equal partnership of music and texts in motets of the fourteenth century and beyond, showcasing the imaginative opportunities afforded by this literal kind of intertextuality, and yielding a very different narrative from the common complaint that different simultaneous texts make motets incomprehensible. As leading musicologist Margaret Bent asserts, they simply require a different approach to preparation and listening. In this book, Bent examines the words and music of motets from many different angles: foundational verbal quotations and pre-existent chant excerpts and their contexts, citations both of words and music from other compositions, function, dating, structure, theory, and number symbolism. Individual studies of these original creations tease out a range of strategies, ingenuity, playfulness, striking juxtapositions, and even subversion. Half of the thirty-two chapters consist of new material; the other half are substantially revised and updated versions of previously published articles and chapters, organized into seven Parts. With new analyses of text and music together, new datings, new attributions, and new hypotheses about origins and interrelationships, Bent uncovers little-explored dimensions, provides a window into the craft and thought processes of medieval composers, and opens up many directions for future work.
A Library Journal Starred Review (March 2024) praises the book as a "remarkable resource that will please both musical professionals and amateurs, along with teachers and their students, and conductors and singers.” Throughout the ages, people have wanted to sing in a communal context. This desire apparently stems from a deeply rooted human instinct. Consequently, choral performance historically has often been related to human rituals and ceremonies, especially rites of a religious nature. Historical Dictionary of Choral Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1,300 cross-referenced entries on composers, conductors, choral ensembles, choral genres, and choral repertoire. This book is an excellent resource for students, researchers, and anyone wanting to know more about choral music.