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Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has now prepared a much-needed modern performing edition of this work, published by OUP's music department. This companion volume defines his editorial methods in the context of the minefield of controversies surrounding the principles of editing music of this period, and indeed of the many different interpretations of the compositional structure and function of the music. Relating the Mass to other works of the period, he provides the student and performer with an invaluable guide to its intricacies, while his approach will be welcomed by scholars as both controversial and stimulating.
One of the most widely studied and performed works of music written before 1600, Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. The mass itself, however, is surrounded by uncertainty; its date of composition remains unknown, its purpose is unclear, and its construction yields much ambiguity. A controversial new approach to Machaut's composition technique, this volume provides a case study in the application of music ficta and a detailed introduction to performance. Relating the Mass to other works of the period, this introduction is an invaluable guide to its intricacies.
Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.
Medieval Christians knew the past primarily through what they saw and heard. History was reenacted every year in ritual observances particular to each place and region and rooted in the legends of local saints.This richly illustrated book explores the layers of history found in the cult of the Virgin of Chartres as it developed in the eleventh and twelfth centuries. Focusing on the major relic of Chartres Cathedral, the Virgin’s gown, and the Feast of Mary's Nativity, Margot Fassler employs a wide range of historical evidence including local histories, letters, obituaries, chants, liturgical sources, and reports of miracles, leading to a detailed reading of the cathedral's west façade. This interdisciplinary volume will prove invaluable to historians who work in religion, politics, music, and art but will also serve as a guidebook for all interested in the history of Chartres Cathedral.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
England in the fifteenth century was the cradle of much that would have a profound impact on European music for the next several hundred years. Perhaps the greatest such development was the cyclic cantus firmus Mass, and scholarly attention has therefore often been drawn to identifying potentially English examples within the many anonymous Mass cycles that survive in continental sources. Nonetheless, to understand English music in this period is to understand it within a changing nexus of two-way cultural exchange with the continent, and the genre of the Mass cycle is very much at the forefront of this. Indeed, the question of ‘what is English’ cannot truly be answered without also answering the question of ‘what is continental’. This book seeks, initially, to answer both of these questions. Perhaps more importantly, it argues that a number of the works that have induced the most scholarly debate are best seen through the lens of intensive and long-term cultural exchange and that the great binary divide of provenance can, in many cases, productively be broken down. A great many of these works, though often written on the continent, can, it seems, only be understood in relation to English practice – a practice which has had, and will continue to have, major importance in the ongoing history of European Art Music.
This is the first complete edition and the first English translation of one of the most fascinating poems of the late Middle Ages. Machaut's narrative tells "the true story" of the aged poet's romance with a young admirer, constructed around the letters and lyric poems they exchanged, and offers unique insights into the making of poetry, music and manuscripts. Introductory essays survey Machaut's biography, reevaluate the autobiographical content of the poem, explore the literary context, and discuss the miniatures, which are reproduced within the text. Also included is a full listing of variant readings, a commentary on references to contemporary events and the writing of the poem, an outline chronology, indices of lyrics, and a table to convert line numbers between this edition and the incomplete 1875 edition of P. Paris.
New articles on du Fay and Desprez, on sacred and secular music, and reception history, form a fitting tribute to one of the field's foremost scholars. This volume celebrates the work of David Fallows, one of the most influential scholars in the field of medieval and Renaissance music. It draws together articles by scholars from around the world, focusing on key topics to which Fallows has contributed significantly: the life and works of Guillaume Du Fay and of Josquin Desprez, archival studies and biography, sacred and secular music of the late mediaeval and Renaissance period, and reception history. Studies include major archival discoveries concerning the identity of the composer Fremin Caron; a reconsideration of the authorship of works within the Josquin canon, notably Mille regretz and Absalon fili mi; a freshlook at key works from Du Fay's youth and early maturity; accounts of newly discovered sources and works; and an appraisal of David Fallows' contribution to the early music performance movement by Christopher Page, former directorof Gothic Voices. The collection also includes two newly published compositions dedicated to the honorand. Fabrice Fitch teaches at the Royal Northern College of Music; Jacobijn Kiel is an independent scholar. Contributors: Rob C. Wegman, Jane Alden, Bonnie J. Blackburn, Honey Meconi, Gianluca D'Agostino, Andrew Kirkman, Jaap van Benthem, Margaret Bent, James Haar, Alenjandro Enrique Planchart, Jesse Rodin, Lorenz Welker, Kinuho Endo, Joshua Rifkin, Thomas Schmidt-Beste, Richard Sherr, Peter Wright, Fabrice Fitch, Tess Knighton, Warwick Edwards, Adam Knight Gilbert, Markus Jans, Oliver Neighbour, Anthony Rooley, Keith Polk, John Milsom, Jeffrey J. Dean, EricJas, Peter Gülke, Iain Fenlon, Barbara Haggh, Dagmar Hoffmann-Axthelm, Leofranc Holford-Strevens, Andrea Lindmayr-Brandl, Esperanza Rodríguez-García, Eugeen Schreurs, Reinhard Strohm
Offering the first comprehensive study of Guillaume de Machaut’s vast corpus of text and music, the 18 essays in this collection explore the author’s engagement with the ethical, political, and aesthetic concerns of his time. Building on interdisciplinary interest in Machaut, this collection broadens discussion of his work by exploring overlapping interests in his poetry and music; addressing lesser-studied writings; offering fresh perspectives on lyric, authorial voice, and performance; and engaging more critically with his reception by medieval bookmakers, modern editors, and the music industry. The result is a promising map for future research in the field that will be of interest to students and specialists alike.