Book contents
- The Cambridge History of Medieval Music
- The Cambridge History of Music
- The Cambridge History of Medieval Music
- Copyright page
- Contents
- Figures
- Music Examples
- Tables
- Notes on Contributors
- Acknowledgements
- Manuscript Sigla
- Abbreviations
- Volume I
- Volume II
- 21 Institutions and Foundations
- 22 Notation II
- 23 Rhythm and Meter
- 24 Tonal Organization in Polyphony, 1150–1400
- 25 Liturgy and Plainchant, 1150–1570
- 26 Early Polyphony
- 27 Notre Dame
- 28 Liturgical Polyphony after 1300
- 29 The Emergence of Polyphonic Song
- 30 Vernacular Song III: Polyphony
- 31 The Thirteenth-Century Motet
- 32 The Fourteenth-Century Motet
- 33 Latin Song I: Songs and Songbooks from the Ninth to the Thirteenth Century
- 34 Latin Song II: The Music and Texts of the Conductus
- 35 Trecento I: Secular Music
- 36 Trecento II: Sacred Music and Motets in Italy and the East from 1300 until the End of the Schism
- 37 Ars subtilior
- 38 Citational Practice in the Later Middle Ages
- 39 “Medieval Music” or “Early European Music”?
- Index
- References
39 - “Medieval Music” or “Early European Music”?
from Volume II
Published online by Cambridge University Press: 04 August 2018
Book contents
- The Cambridge History of Medieval Music
- The Cambridge History of Music
- The Cambridge History of Medieval Music
- Copyright page
- Contents
- Figures
- Music Examples
- Tables
- Notes on Contributors
- Acknowledgements
- Manuscript Sigla
- Abbreviations
- Volume I
- Volume II
- 21 Institutions and Foundations
- 22 Notation II
- 23 Rhythm and Meter
- 24 Tonal Organization in Polyphony, 1150–1400
- 25 Liturgy and Plainchant, 1150–1570
- 26 Early Polyphony
- 27 Notre Dame
- 28 Liturgical Polyphony after 1300
- 29 The Emergence of Polyphonic Song
- 30 Vernacular Song III: Polyphony
- 31 The Thirteenth-Century Motet
- 32 The Fourteenth-Century Motet
- 33 Latin Song I: Songs and Songbooks from the Ninth to the Thirteenth Century
- 34 Latin Song II: The Music and Texts of the Conductus
- 35 Trecento I: Secular Music
- 36 Trecento II: Sacred Music and Motets in Italy and the East from 1300 until the End of the Schism
- 37 Ars subtilior
- 38 Citational Practice in the Later Middle Ages
- 39 “Medieval Music” or “Early European Music”?
- Index
- References
Summary
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Chapter
- Information
- The Cambridge History of Medieval Music , pp. 1177 - 1200Publisher: Cambridge University PressPrint publication year: 2018
References
Berdiajew, Nikolai. Das Neue Mittelalter. Betrachtungen über das Schicksal Rußlands und Europas. Tübingen, 1927.Google Scholar
Besserman, Lawrence, ed. The Challenge of Periodization: Old Paradigms and New Perspectives. New York: Garland, 1996.Google Scholar
Blumenberg, Hans. The Legitimacy of the Modern Age, trans. Wallace, Robert M.. Cambridge, MA: MIT Press, 1983.Google Scholar
Bouwsma, William J. “The Renaissance and the Drama of Western History,” The American Historical Review 84 (1979), 1–15.CrossRefGoogle Scholar
Braudel, Fernand. La Méditerranée et le Monde Méditerranéen à l’Epoque de Philippe II. Paris: Colin, 1949.Google Scholar
Burnett, Charles. “European Knowledge of Arabic Texts Referring to Music: Some New Materials,” Early Music History 12 (1993), 1–17.Google Scholar
Burrows, Toby. “Unmaking the ‘Middle Ages,’” Journal of Medieval History 7 (1981), 127–34.CrossRefGoogle Scholar
Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley and London: University of California Press, 2005.Google Scholar
Dahlhaus, Carl. “Aristoteles-Rezeption und Neuzeit in der Musikgeschichte,” in Wege in die Neuzeit, ed. Cramer, Thomas. Munich: Fink, 1988, 146–48.Google Scholar
Edelmann, Nathan. “The Early Uses of Medium Aevum, Moyen Age, Middle Ages,” Romanic Review 29 (1938), 3–25.Google Scholar
Everist, Mark. “The Miller’s Mule: Writing the History of Medieval Music,” Music & Letters 74 (1993), 44–53.Google Scholar
Ferguson, Wallace K. The Renaissance in Historical Thought: Five Centuries of Interpretation. Cambridge, MA: Houghton Miffin, 1948.Google Scholar
Fink, Monika, Gstrein, Rainer, and Mössmer, Günther, eds. Musica privata: Die Rolle der Musik im privaten Leben, Festschrift für Walter Salmen. Innsbruck: Helbling, 1991.Google Scholar
Finscher, Ludwig. “Die Entstehung des Komponisten,” Review of the Aesthetics and Sociology of Music 6 (1975), 29–45.Google Scholar
Gerhard, Dietrich. “Periodization in European History,” The American Historical Review 61 (1956), 900–13.CrossRefGoogle Scholar
Gerhard, Dietrich. “Zum Problem der Periodisierung der europäischen Geschichte,” in Alte und Neue Welt in vergleichender Geschichtsbetrachtung, ed. Gerhard, Dietrich. Göttingen: Vandenhoeck and Rupprecht, 1962.Google Scholar
Goetz, Hans-Werner. “Das Problem der Epochengrenzen und die Epoche des Mittelalters,” in Mittelalter und Moderne. Entdeckung und Rekonstruktion der mittelalterlichen Welt. Kongreßakten des 6. Symposiums des Mediävistenverbandes in Bayreuth 1995, ed. Segl, Peter, 163–72.Google Scholar
Graus, František. “Epochenbewusstsein im Spätmittelalter und Probleme der Periodisierung,” in Epochenschwelle und Epochenbewusstsein, ed. Herzog, R. and Koselleck, R., 153–66.Google Scholar
Herzog, Reinhart and Koselleck, Reinhart, eds. Epochenschwelle und Epochenbewusstsein. Munich: Fink, 1987.Google Scholar
Jauß, Hans Robert. “Der literarische Prozess des Modernismus von Rousseau bis Adorno,” in Epochenschwelle und Epochenbewusstsein, ed. Herzog, R. and Koselleck, R., 243–68.Google Scholar
Kelly-Gadol, Joan. “Did Women Have a Renaissance?” in Women, History and Theory: The Essays of Joan Kelly. Chicago: University of Chicago Press, 1984, 19–50.Google Scholar
Kerner, Max. “Das Mittelalter als ‘Kindheit Europas.’ Zu den Geschichtsromanen Umberto Ecos,” in Mittelalter und Moderne. Entdeckung und Rekonstruktion der mittelalterlichen Welt. Kongreßakten des 6. Symposiums des Mediävistenverbandes in Bayreuth 1995, ed. Segl, Peter, 288–304.Google Scholar
Koselleck, Reinhart. “‘Neuzeit’: Zur Semantik moderner Bewegungsbegriffe,” in Vergangene Zukunft. Zur Semantik geschichtlicher Zeiten. Frankfurt: Suhrkamp, 1992, 300–48.Google Scholar
Koselleck, Reinhart. Zeitschichten. Studien zur Historik; mit einem von Hans-Georg Gadamer, Beitrag. Frankfurt: Suhrkamp, 2000.Google Scholar
Kristeller, Paul Oskar. “The Modern System of the Arts: A Study in the History of Aesthetics,” Journal of the History of Ideas, 12 (1951 ), 496–527.CrossRefGoogle Scholar
Lafitau, P. J.-F. SJ. Moeurs des sauvages ameriquains, comparées aux moeurs des premiers temps, 4 vols. Paris, 1724.Google Scholar
Lai, Cheng-chung. Braudel’s Historiography Reconsidered. Lanham, MD: University Press of America, 2004.Google Scholar
Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Ithaca, NY: Cornell University Press, 2002.Google Scholar
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge University Press, 2002.Google Scholar
LePan, Don. The Cognitive Revolution in Western Culture. Vol. i: The Birth of Expectation. Basingstoke: Macmillan, 1989.Google Scholar
McLaughlin, Martin L. “Humanist Conceptions of Renaissance and Middle Ages in the Tre- and Quattrocento,” Renaissance Studies 2 (1987), 131–42.Google Scholar
Mommsen, Theodore. “Petrarch’s Conception of the ‘Dark Ages,’” Speculum 17 (1942), 226–42.Google Scholar
Moos, Peter von. “Gefahren des Mittelalterbegriffs. Diagnostische und präventive Aspekte“, in Modernes Mittelalter. Neue Bilder einer populären Epoche, ed. Heinzle, Joachim. Frankfurt: Insel, 1994, 33–63.Google Scholar
Niemöller, Klaus Wolfgang. “Zum Paradigmenwechsel in der Musik der Renaissance. Vom numerus sonorus zur musica poetica,” Abhandlungen der Akademie der Wissenschaften in Göttingen, Phil.-Hist. Klasse, 3. Folge. Göttingen: Vandenhoeck and Ruprecht, 1995, 187–215.Google Scholar
Oexle, Otto Gerhard. “Die Moderne und ihr Mittelalter. Eine folgenreiche Problemgeschichte,” in Mittelalter und Moderne. Entdeckung und Rekonstruktion der mittelalterlichen Welt. Kongreßakten des 6. Symposiums des Mediävistenverbandes in Bayreuth 1995, ed. Segl, P., 307–64Google Scholar
Owens, Jessie Ann. Composers at Work: The Craft of Musical Composition 1450–1600. New York: Oxford University Press, 1997.CrossRefGoogle Scholar
Palisca, Claude V. Humanism in Italian Renaissance Musical Thought. New Haven, CT; London: Yale University Press,1985.Google Scholar
Panofsky, Erwin. Renaissance and Renascences in Western Art, 2 vols. Stockholm: Almqvist and Wiksell, 1960.Google Scholar
Perkuhn, Renate. Die Theorien zum arabischen Einfluss auf die europäische Musik des Mittelalters. Walldorf-Hessen: Verlag für Orientkunde, 1976.Google Scholar
Reckow, Fritz. “Between Ontology and Rhetoric: The Idea of movere animos and the Transition from the Late Middle Ages to the Early Modern Period in Music History,” in Traditionswandel und Traditionsverhalten, ed. Haug, Walter and Wachinger, Burkhart. Tübingen: Niemeyer, 1991, 145–78.Google Scholar
Schaeffer, Peter. “The Emergence of the Concept ‘Medieval’ in Central European Humanism,” The Sixteenth Century Journal 7 (1976), 21–30.CrossRefGoogle Scholar
Schreiner, Klaus. “‘Diversitas temporum’: Zeiterfahrung und Epochengliederung im späten Mittelalter,” in Epochenschwelle und Epochenbewusstsein, ed. Herzog, R. and Koselleck, R., 381–428.Google Scholar
Segl, Peter, ed. Mittelalter und Moderne. Entdeckung und Rekonstruktion der mittelalterlichen Welt. Kongreßakten des 6. Symposiums des Mediävistenverbandes in Bayreuth 1995. Sigmaringen: Thorbecke, 1997.Google Scholar
Shiloah, Amnon. “Muslim and Jewish Musical Traditions of the Middle Ages,” in Music as Concept and Practice in the Late Middle Ages, ed. Strohm, R. and Blackburn, B. J., 1–30.Google Scholar
Skalweit, Stephan. Der Beginn der Neuzeit. Darmstadt: Wissenschaftliche Buchgesellschaft, 1982.Google Scholar
Strohm, Reinhard. “The Birth of the Music Book,” in Venice 1501: Petrucci, Music, Print and Publishing. Atti del Convegno … 2001., ed. Cattin, Giulio and Vecchia, Patrizia Dalla. Venice: Edizioni Fondazione Levi, 2005, 45–55.Google Scholar
Strohm, Reinhard. “Collapsing the Dialectic. The Enlightenment Tradition in Music and Its Critics,” in Musicology and Sister Disciplines: Past, Present and Future, Proceedings of the Sixteenth International Congress of the IMS, London 1977, ed. Greer, David. Oxford University Press, 2000, 263–72.Google Scholar
Strohm, Reinhard. Guillaume Du Fay, Martin Le Franc und die humanistische Legende der Musik, 191. Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich. Winterthur: Amadeus, 2008.Google Scholar
Strohm, Reinhard. “Music, Humanism, and the Idea of a Rebirth of the Arts,” in Music as Concept and Practice in the Late Middle Ages, ed. Strohm, R. and Blackburn, B. J., 346–405.Google Scholar
Strohm, Reinhard. “‘Opus’: An Aspect of the Early History of the Musical Work-Concept,” in Complexus effectuum musicologiae. Studia Miroslavo Perz septuagenario dedicata, ed. Jeż, Tomasz. Kraków: Rabid, 2003, 309–19.Google Scholar
Strohm, Reinhard. The Rise of European Music, 1380–1500. Cambridge University Press, 1993.Google Scholar
Strohm, Reinhard. “Les Sauvages, Music in Utopia, and the Decline of the Courtly Pastoral,” Il Saggiatore musicale 11 (2004), 21–49.Google Scholar
Strohm, Reinhard. “Vom Internationalen Stil zur Ars Nova? Probleme einer Analogie,” Musica Disciplina 41 (1987), 5–13.Google Scholar
Strohm, Reinhard. “Zmierzch średnowiecza a zmierzch nowożytności” (“The End of the Middle Ages and the End of Modernity”), Przegląd Muzykologiczny 2 (2002), 153–72.Google Scholar
Strohm, Reinhard and Blackburn, Bonnie J., eds. Music as Concept and Practice in the Late Middle Ages. The New Oxford History of Music, new ed., vol. iii/1. Oxford University Press, 2001.Google Scholar
Thorndike, Lynn. A History of Magic and Experimental Science, 8 vols. New York and London: Columbia University Press, 1923–58.Google Scholar
Trümpy, Hans, ed. Kontinuität-Diskontinuität in der Geschichtswissenschaft. Darmstadt: Wissenschaftliche Buchgesellschaft, 1973.Google Scholar
Voss, Jürgen. Das Mittelalter im historischen Denken Frankreichs. Untersuchungen zur Geschichte des Mittelalter-Begriffes. Munich: Fink, 1972.Google Scholar
Wegman, Rob C. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500,” Journal of the American Musicological Society 49 (1996), 409–79.Google Scholar
Wiora, Walter. The Four Ages of Music, trans. Norton, M. D. Herter. London: Dent, 1965.Google Scholar
Zankel, Sönke. Mit Flugblättern gegen Hitler: Der Widerstandskreis um Hans Scholl und Alexander Schmorell. Cologne: Böhlau, 2008.Google Scholar