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
- Introduction and Context
- 1 Musical Legacies from the Ancient World
- 2 Origins and Transmission of Franco-Roman Chant
- 3 Sources of Romano-Frankish Liturgy and Music
- 4 Regional Liturgies: Spanish, Beneventan, Gallican, Milanese
- 5 Nova Cantica
- 6 Music and Prosopography
- 7 The Silence of Medieval Singers
- 8 Notation I
- 9 Tropes
- 10 Sequence
- 11 Music Theory
- 12 Vernacular Song I: Lyric
- 13 Vernacular Song II: Romance
- 14 Instruments and Their Music
- 15 Teaching and Learning Music
- 16 Music in Drama
- 17 The Sources
- 18 The Revival of Medieval Music
- 19 Medieval Performance Practice
- 20 Issues in the Modern Performance of Medieval Music
- Volume II
- Index
- References
19 - Medieval Performance Practice
from Volume I
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
- Introduction and Context
- 1 Musical Legacies from the Ancient World
- 2 Origins and Transmission of Franco-Roman Chant
- 3 Sources of Romano-Frankish Liturgy and Music
- 4 Regional Liturgies: Spanish, Beneventan, Gallican, Milanese
- 5 Nova Cantica
- 6 Music and Prosopography
- 7 The Silence of Medieval Singers
- 8 Notation I
- 9 Tropes
- 10 Sequence
- 11 Music Theory
- 12 Vernacular Song I: Lyric
- 13 Vernacular Song II: Romance
- 14 Instruments and Their Music
- 15 Teaching and Learning Music
- 16 Music in Drama
- 17 The Sources
- 18 The Revival of Medieval Music
- 19 Medieval Performance Practice
- 20 Issues in the Modern Performance of Medieval Music
- Volume II
- 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. 582 - 608Publisher: Cambridge University PressPrint publication year: 2018
References
Arlt, Wulf. “Instrumentalmusik im Mittelalter: Fragen der Rekonstruktion einer schriftlosen Praxis,” Basler Jahrbuch für Historische Musikpraxis 7 (1983), 32–64.Google Scholar
Arlt, W. “The ‘Reconstruction’ of Instrumental Music: The Interpretation of the Earliest Practical Sources,” in Studies in the Performance of Late Medieval Music, ed. Boorman, S. Cambridge University Press, 1983, 75–100.Google Scholar
Aubrey, Elizabeth. “Non-Liturgical Monophony, Introduction”; “Occitan Monophony”; “French Monophony,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W.. Bloomington and Indianapolis: Indiana University Press, 2000, 105–14; 122–33; 134–43.Google Scholar
Baines, Anthony. “Fifteenth-Century Instruments in Tinctoris’s De inventione et usu musicae,” Galpin Society Journal 3 (1950), 19–26.Google Scholar
Berger, Kar. “Musica Ficta,” in Performance Practice: Music before 1600, ed. Brown, H.M. and Sadie, S.. New York: W. W. Norton, 1989, 107–25.Google Scholar
Binkley, Thomas. “Aus Aufführungspraxis der einstimmigen Musik des Mittelalters – ein Werkstattbericht,” Basler Jahrbuch für Historische Musikpraxis 1 (1977), 19–76.Google Scholar
Blachly, Alexander. “Proportion,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 510–32.Google Scholar
Boorman, Stanley, ed. Studies in the Performance of Late Medieval Music. Cambridge University Press, 1983.Google Scholar
Bowers, Roger. “The Performing Ensemble for English Church Polyphony, c. 1320–c. 1390,” in Studies in the Performance of Late Medieval Music, ed. Boorman, S, 161–92.Google Scholar
Bowles, Edmond. “Haut and Bas: The Grouping of Musical Instruments in the Middle Ages,” Musica Disciplina 8 (1954), 115–40.Google Scholar
Bowles, E. “Instruments at the Court of Burgundy (1363–1467),” Galpin Society Journal 6 (1953), 41–51.Google Scholar
Brown, Howard M. and Sadie, Stanley, eds. Performance Practice: Music before 1600. New York: W. W. Norton, 1989.Google Scholar
Chaucer, Geoffrey. The Canterbury Tales, trans. Coghill, Nevill. Harmondsworth: Penguin, 1951.Google Scholar
Cohen, Judith R. “Sephardic Song,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 158–62.Google Scholar
von Zabern, Conrad. De modo bene cantandi choralem cantum. Mainz, 1474; modern ed. Die Musiktraktate Conrads von Zabern, ed. Gümpel, K-W.. Wiesbaden: Akademie der Wissenschaften und der Literatur, 1956.Google Scholar
Cross, Lucy E. “Musica Ficta,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 496–509.Google Scholar
Downey, Peter. “A Renaissance Correspondence Concerning Trumpet Music,” Early Music 9 (1981), 325–29.Google Scholar
Downey, P. “The Renaissance Slide Trumpet: Fact or Fiction?” Early Music 12 (1984), 26–33.Google Scholar
Duffin, Ross W. “Ensemble Improvisation in the Fifteenth-Century Mensural Dance Repertoire,” in Instruments, Ensembles, and Repertory, 1300–1600: Essays in Honor of Keith Polk, ed. McGee, T. J. and Carter, S., Brepols Collected Essays in European Culture 4. Turnhout: Brepols, 2013, 195–233.Google Scholar
Duffin, R. W. “The Trompette des Menestrels in the 15th-Century Alta Capella,” Early Music 17 (1989), 397–402.Google Scholar
Duffin, R. W. ed. A Performer’s Guide to Medieval Music. Bloomington and Indianapolis: Indiana University Press, 2000.Google Scholar
Dyer, Joseph. “Singing with Proper Refinement from De modo bene cantandi (1474) by Conrad von Zabern,” Early Music 6 (1978), 207–27.Google Scholar
Dyer, J. “The Voice in the Middle Ages,” in The Cambridge Companion to Singing, ed. Potter, J.. Cambridge University Press, 2000, 165–77; 254–58.Google Scholar
Salomonis, Elias. Scientia artis musicae. Rome, 1274; modern ed. Scriptores ecclesiastici de musica sacra potissimum, ed. Gerbert, M., 3 vols. St. Blasien, 1784; repr. Hildesheim: Olms, 1963, vol. iii.Google Scholar
Faenza, Biblioteca Comunale. Ms 117; facsimile ed., Musicological Studies and Documents x. n.p.: American Institute of Musicology, 1961. Transcription in Keyboard Music of the Late Middle Ages, ed. Plamenac, D.. n.p.: American Institute of Musicology, 1972.Google Scholar
Ferreira, Manuel P. “Iberian Monophony,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 144–57.Google Scholar
Florence, Biblioteca Mediceo-Laurenziana. Pluteo 29,1; facsimile ed. Dittmer, L, 2 vols. Brooklyn: Institute of Mediaeval Music, [1966].Google Scholar
Guido of Arezzo. Micrologus; English translation Hucbald, Guido, and John on Music, trans. Babb, W.. New Haven, CT; London: Yale University Press, 1978, 49–83.Google Scholar
Haggh, Barbara and Huglo, Michel. “Magnus liber – Maius munus. Origine et destinée du manuscrit F,” Revue de Musicology 90 (2004), 193–230.Google Scholar
Heinen, Hubert. “German Monophony,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 173–80.Google Scholar
Hillier, Paul. “English Monophony,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 181–89.Google Scholar
Hughes, Andrew. “The Choir in Fifteenth-Century English Music: Non-Mensural Polyphony,” in Essays in Musicology in Honor of Dragan Plamenac on His 70th Birthday, ed. Reese, G. and Snow, R.. Pittsburgh: University of Pennsylvania Press, 1969.Google Scholar
Hughes, A. Manuscript Accidentals: Ficta in Focus. Neuhausen-Stuttgart: Hänssler, 1972.Google Scholar
Hughes, A. “Mensural Polyphony for Choir in 15th-Century England,” Journal of the American Musicological Society 19 (1966), 352–69.Google Scholar
Jerome of Moravia. Tractatus de Musica; modern edition Hieronymus De Moravia O. P. Tractatus De Musica, ed. Cserba, S. M, Freiburger Studien zur Musikwissenschaft 2. Regensburg: Friedrich Pustet, 1935.Google Scholar
de Garlandia, Johannes. De mensurabili musica; modern edition, ed. Reimer, E.. 2 vols. Wiesbaden: F. Steiner, 1972. English translation Concerning Measured Music, trans. Birnbaum, S. H.. Colorado Springs, 1978.Google Scholar
de Grocheio, Johannes. De Musica; modern edition Die Quellenhandschriften zum Musiktraktat des Johannes de Grocheio, ed. Rohloff, E.. Leipzig, 1972. English translation Johannes de Grocheo, Concerning Music, trans. Seay, A. Colorado Springs, 1967; rev. ed. 1973.Google Scholar
Knighton, Tess and Fallows, David, eds. A Companion to Medieval and Renaissance Music. London; New York: Schirmer, 1992; reprinted Oxford University Press, 1998.Google Scholar
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music. Cambridge University Press, 2002.Google Scholar
London, British Library. Mus. Add. 28550; transcription in Corpus of Early Keyboard Music 1. n.p.: American Institute of Musicology, 1963.Google Scholar
MacClintock, Carol, ed. Readings in the History of Music in Performance. Bloomington and Indianapolis: Indiana University Press, 1979.Google Scholar
Marchettus of Padua. Lucidarium. Critical edition, The Lucidarium of Marchetto of Padua, trans. and ed. Herlinger, J.. Chicago: University of Chicago Press, 1985.Google Scholar
McGee, Timothy J. The Ceremonial Musicians of Late Medieval Florence. Bloomington and Indianapolis: Indiana University Press, 2009.Google Scholar
McGee, T. J. “Florentine Instrumentalists and Their Repertory circa 1500,” Basler Jahrbuch für Historische Musikpraxis 29 (2005), 145–59.Google Scholar
McGee, T. J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985.Google Scholar
McGee, T. J. “The Medieval Fiddle: Tuning, Technique, and Repertory,” in Instruments, Ensembles, and Repertory, 1300–1600: Essays in Honor of Keith Polk, ed. McGee, T. J. and Carter, S., Brepols Collected Essays in European Culture 4. Turnhout: Brepols, 2013, 31–56.Google Scholar
McGee, T. J. Medieval Instrumental Dances. Bloomington and Indianapolis: University of Indiana Press, 1989.Google Scholar
McGee, T. J. “National Styles in Fifteenth-Century Embellishment,” in Music Fragments and Manuscripts from the Low Countries; Alta Capella; Music Printing in Antwerp and Europe in the 16th Century, Yearbook of the Alamire Foundation 2. Leuven: The Foundation, 1997, 131–46.Google Scholar
McGee, T. J. “Silver or Gold: The Color of Brass Instruments in the Late Middle Ages,” Historical Brass Society Journal 17 (2005), 1–6.Google Scholar
McGee, T. J. “The Sound of the Early Neumes,” in Papers Read at the 12th Meeting of the IMS Study Group Cantus Planus. Lillafüred/Hungary, 2004. Aug. 23–28, ed. Dobszay, L.. Budapest: Institute for Musicology of the Hungarian Academy of Sciences, 2006, 549–64 + CD.Google Scholar
McGee, T. J. The Sound of Medieval Song: Vocal Style and Ornamentation According to the Theorists, Oxford Monographs on Music. Oxford: Clarendon Press, 1998.Google Scholar
McGee, T. J. ed. Instruments and Their Music in the Middle Ages, Music in Medieval Europe. Farnham: Ashgate, 2009.Google Scholar
Munich, Bayerische Staatsbibliothek, Mus. ms. 3725; facsimile ed. Das Buxheimer Orgelbuch, ed. Wallner, B.. Kassel: Barenreiter, 1955. Transcription in Das Erbe Deutscher Musik 37–39. Kassel: Barenreiter, 1958–59.Google Scholar
Myers, Herbert. “Slide Trumpet Madness: Fact or Fiction?” Early Music 17 (1989), 383–89.Google Scholar
Neville, Jennifer. “Dance in Europe 1250–1750,” in Dance, Spectacle, and the Body Politick, 1250–1750, ed. Neville, J.. Bloomington Indianapolis: Indiana University Press, 2008, 7–64.Google Scholar
Odington, Walter. De speculatione musicae; English translation by Huff, J. A, Walter Odington, De speculatione musicae, Musicological Studies and Documents 31. Rome: American Institute of Musicology, 1973.Google Scholar
Page, Christopher. “Around the Performance of a 13th-Century Motet,” Early Music 28 (2000), 343–57.Google Scholar
Page, C. “Fourteenth-Century Instruments and Tunings: A Treatise by Jean Vaillant? (Berkeley, MS744),” Galpin Society Journal 33 (1980), 17–35.CrossRefGoogle Scholar
Page, C. “Jerome of Moravia on the Rubeba and Viella,” Galpin Society Journal 32 (1979), 77–98.Google Scholar
Page, C. The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300. Berkeley and Los Angeles: University of California Press, 1989.Google Scholar
Page, C. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France 1100–1300. London, Melbourne: J.M. Dent & Sons, 1987.Google Scholar
Page, C. ed. The Summa Musice: A Thirteenth-Century Manual for Singers. Cambridge University Press, 1991.Google Scholar
Planchart, Alejandro. “Tempo and Proportion,” in Performance Practice: Music before 1600, ed. Brown, H. M. and Sadie, S.. New York: W. W. Norton, 1989, 126–44.Google Scholar
Polk, Keith. “Ensemble Performance in Dufay’s Time,” in Dufay Quincentenary Conference, ed. Atlas, A. W.. New York: Brooklyn College, 1976, 61–75.Google Scholar
Polk, K. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice, Cambridge Musical Texts and Monographs. Cambridge University Press, 1992.Google Scholar
Polk, K. “The Trombone, the Slide Trumpet and the Ensemble Tradition of the Early Renaissance,” Early Music 17 (1989), 389–97.Google Scholar
Potter, John. “Reconstructing Lost Voices,” in A Companion to Medieval and Renaissance Music, ed. Knighton, T and Fallows, D, 311–16.Google Scholar
de Pareia, Ramos. Musica practica, 1482. Facsimile, ed. Bologna, 1969. Modern ed. Wolf, J.. Leipzig, 1901.Google Scholar
Rokseth, Yvonne. “Danses Cléricales du XIIIe siècle,” in Mélanges 1945 des Publications de la Faculté des Lettres de Strasbourg. Paris: Belles Lettres, 1947.Google Scholar
Sherr, Richard. “Performance Practice in the Papal Chapel during the Sixteenth Century,” Early Music 15 (1987), 453–62.Google Scholar
Sherr, R., “Tempo to 1500,” in A Companion to Medieval and Renaissance Music, ed. Knighton, T and Fallows, D, 327–36.Google Scholar
Smith, Donglas A. A History of the Lute from Antiquity to the Renaissance. n.p.: Lute Society of America, 2002.Google Scholar
Vollaerts, Jan W. A. Rhythmic Proportions in Early Medieval Ecclesiastical Chant, 2nd ed. Leiden: E. J. Brill, 1960.Google Scholar
Welker, Lorenz. “‘Alta capella’ – Zur Ensemblepraxis der Blasinstrumente im 15. Jahrhundert,” Basler Jahrbuch fur Historische Musikpraxis 7 (1983).Google Scholar
Wilson, Blake. “Italian Monophony,” in A Performer’s Guide to Medieval Music, ed. Duffin, R. W., 163–72.Google Scholar
- 1
- Cited by