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The sequence was one of the most important types of music of the Middle Ages. Performed during the mass and sung throughout the churches of medieval Europe, the Latin poetry of this new compositional genre distinguished itself from what is commonly called 'Gregorian chant'. The sequences of the medieval Cathedral of Nidaros and its vast archdiocese comprise a song repertoire remarkable for its sheer size, chronological comprehensiveness, and stylistic diversity. The current volume presents eleven studies on this musical tradition, and the authors, using a wide range of perspectives and approaches -- paleographical, codicological, repertorial, textual, musical, and exegetical -- place this Nordic practice in its broader European context. This book is more than a study of a regional tradition of a single genre: it instead touches on topics and methodologies fundamental to contemporary research on chant.
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.
The twenty-eight essays in this Handbook represent the best of current thinking in the study of Latin language and literature in the Middle Ages. The insights offered by the collective of authors not only illuminate the field of medieval Latin literature but shed new light on broader questions of literary history, cultural interaction, world literature, and language in history and society. The contributors to this volume--a collection of both senior scholars and gifted young thinkers--vividly illustrate the field's complexities on a wide range of topics through carefully chosen examples and challenges to settled answers of the past. At the same time, they suggest future possibilities for the necessarily provisional and open-ended work essential to the pursuit of medieval Latin studies. While advanced specialists will find much here to engage and at times to provoke them, this handbook successfully orients non-specialists and students to this thriving field of study. The overall approach of The Oxford Handbook of Medieval Latin Literature makes this volume an essential resource for students of the ancient world interested in the prolonged after-life of the classical period's cultural complexes, for medieval historians, for scholars of other medieval literary traditions, and for all those interested in delving more deeply into the fascinating more-than-millennium that forms the bridge between the ancient Mediterranean world and what we consider modernity.
What Kind of a Thing Is a Middle English Lyric? considers issues pertaining to a corpus of several hundred short poems written in Middle English between the twelfth and early fifteenth centuries. The chapters draw on perspectives from varied disciplines, including literary criticism, musicology, art history, and cognitive science. Since the early 1900s, the poems have been categorized as “lyrics,” the term now used for most kinds of short poetry, yet neither the difficulties nor the promise of this treatment have received enough attention. In one way, the book argues, considering these poems to be lyrics obscures much of what is interesting about them. Since the nineteenth century, lyrics have been thought of as subjective and best read without reference to cultural context, yet nonetheless they are taken to form a distinct literary tradition. Since Middle English short poems are often communal and usually spoken, sung, and/or danced, this lyric template is not a good fit. In another way, however, the very differences between these poems and the later ones on which current debates about the lyric still focus suggest they have much to offer those debates, and vice versa. As its title suggests, this book thus goes back to the basics, asking fundamental questions about what these poems are, how they function formally and culturally, how they are (and are not) related to other bodies of short poetry, and how they might illuminate and be illuminated by contemporary lyric scholarship. Eleven chapters by medievalists and two responses by modernists, all in careful conversation with one another, reflect on these questions and suggest very different answers. The editors’ introduction synthesizes these answers by suggesting that these poems can most usefully be read as a kind of “play,” in several senses of that word. The book ends with eight “new Middle English lyrics” by seven contemporary poets.
This book reveals the importance of sung refrains in the musical lives of religious communities in medieval Europe.
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The twenty-one essays of Hagiography and the History of Latin Christendom, 500-1500 employ innovative methods to unlock the historical potential of hagiographical sources and reach new discoveries about the medieval world that extend well beyond the study of sanctity.