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Music and culture in the Middle Ages and beyond : liturgy, sources, symbolism

Author: Benjamin David Brand; David J Rothenberg
Publisher: Cambridge, United Kingdom : Cambridge University Press, 2016.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad culture 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  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Music and culture in the Middle Ages and beyond.
Cambridge, United Kingdom : Cambridge University Press, 2016
(DLC) 2016032795
(OCoLC)956583798
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Benjamin David Brand; David J Rothenberg
ISBN: 9781316663837 1316663833 9781316799765 131679976X 9781316799499 1316799492
OCLC Number: 962438513
Description: 1 online resource
Contents: Cover; Half-title; Title page; Copyright information; Dedication; Table of contents; List of figures; List of tables; List of examples; Note on Contributors; Introduction; I. Chant, Liturgy, and Ritual; II. Archival and Source Studies; III. Symbolism; Part I Chant, Liturgy, and Ritual; 1 Music and Liturgy in Medieval Capua; Appendix 1a Manuscripts in and/or from Capua, mostly liturgical, and in rough chronological order; Appendix 1b Manuscripts of Capua cited by scholars by now evidently lost. Appendix 2 List of external processions from Milan, Biblioteca capitolare, MS E. II. 13 (fifteenth century) Appendix 3 Persistence of the Old Beneventan Rite at Capua; 2 The Model Antiphon Series Primum quaerite in Hucbald's Office In plateis and in Other Post-Carolingian Chant; Hucbald's Office In plateis and the Model Antiphons; The Model Antiphons and Other Early Numerical Offices; The Model Antiphons and Latin Mass Proper Chant; Model Antiphons and Gregorian Chant; The Two Earliest-Known Sources for the Model Antiphons; Conclusions; 3 Singing from the Pulpit. 4 Liturgy and Politics in Renaissance Florence5 Music and Pageantry in the Formation of Hispano-Christian Identity; "La Noche Triste": An Essential Preamble; Civic and Religious Ceremonies on the Feast of St. Hippolytus; The Feast of St. Hippolytus in the Christian Formation of the Aztecs; Singing and Dancing on the Feast of St. Hippolytus; Part II Archival and Source Studies; 6 The Sources and the Sanctorale; Dating Liturgical Manuscripts; 7 Vernacular Contexts for the Monophonic Motet; 8 Tradition and Innovation in Fourteenth-Century Instrumental Music; Soft Instruments, ca. 1330-1400. Loud Instruments: 1300-1400Conclusion; 9 Melchior or Marchion de Civilibus, prepositus brixiensis; Padua, 1410-11; New Documents in Brescia; Padua, Vicenza, and Venice, from 1425; 10 Papal Musicians at Cambrai in the Early Fifteenth Century; 11 Sixtus IV, the Franciscans, and the Beginning of Music Printing in Fifteenth-Century Rome; Part III Symbolism; 12 The Gate that Carries Christ; 13 A Musical Lesson for a King from the Roman de Fauvel; I; II; III; IV; 14 Preaching to the Choir?; Celebrating the Domus Dei in Song and Sermon. Obrecht's Factor orbis and Laudemus nunc Dominum: Transformations in Song and Sermon15 The Madonna Triptych; Bibliography; Manuscripts; Printed Works Before 1600; Printed Works After 1600; Index.
Responsibility: edited by Benjamin Brand, David J. Rothenberg.

Abstract:

It has become widely accepted among musicologists that medieval music is most profitably studied from interdisciplinary perspectives that situate it within broad culture 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.

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