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The treatise on musica plana and musica mensurabilis written by Lambertus/Aristoteles is our main witness to thirteenth-century musical thought in the decades between the treatises of Johannes de Garlandia and Franco of Cologne. Most treatises on music of this century - except for Franco?s treatise on musical notation - survive in only a single copy; Lambertus?s Ars musica, extant in five sources, is thus distinguished by a more substantial and long-lasting manuscript tradition. Unique in its ambitions, this treatise presents both the rudiments of the practice of liturgical chant and the principles of polyphonic notation in a dense and rigorous manner like few music treatises of its time - a conceptual framework characteristic of Parisian university culture in the thirteenth century. This new edition of Lambertus?s treatise is the first since Edmond de Coussemaker?s of 1864. Christian Meyer?s meticulous edition is displayed on facing pages with Karen Desmond?s English translation, and the treatise and translation are prefaced by a substantial introduction to the text and its author by Christian Meyer, translated by Barbara Haggh-Huglo.
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks- the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. This first volume in Richard Taruskin's majestic history, Music from the Earliest Notations to the Sixteenth Century , sweeps across centuries of musical innovation to shed light on the early forces that shaped the development of the Western classical tradition. Beginning with the invention of musical notation more than a thousand years ago, Taruskin addresses topics such as the legend of Saint Gregory and Gregorian chant, Augustine's and Boethius's thoughts on music, the liturgical dramas of Hildegard of Bingen, the growth of the music printing business, the literary revolution and the English madrigal, the influence of the Reformation and the Counter-Reformation, and the operas of Monteverdi. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.
In Dante's Journey to Polyphony, Francesco Ciabattoni's erudite analysis sheds light on Dante's use of music in the Divine Comedy. Following the work's musical evolution, Ciabattoni moves from the cacophony of Inferno through the monophony of Purgatory, to the polyphony of Paradise and argues that Dante's use of sacred songs constitutes a thoroughly planned system. Particular types of music accompany the pilgrim's itinerary and reflect medieval theories regarding sound and the sacred. Combining musicological and philological scholarship, this book analyzes Dante's use of music in conjunction with the form and content of his verse, resulting in a cross-discipline analysis also touching on Italian Studies, Medieval Studies, and Cultural History. After moving from infernal din to heavenly harmony, Ciabattoni's final section addresses the music of the spheres, a theory that enjoyed great diffusion among the early middle ages, inspiring poets and philosophers for centuries.
Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.
The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.