Hostname: page-component-745bb68f8f-kw2vx Total loading time: 0 Render date: 2025-01-14T06:23:26.354Z Has data issue: false hasContentIssue false
  • English
  • Français

Plainsong in the Age of Polyphony, edited by Thomas Forrest Kelly. Cambridge Studies in Performance Practice, 2. Cambridge, Cambridge University Press, 1992. xi + 241 pp. ISBN 0 521 40160 7.

Review products

Plainsong in the Age of Polyphony, edited by Thomas Forrest Kelly. Cambridge Studies in Performance Practice, 2. Cambridge, Cambridge University Press, 1992. xi + 241 pp. ISBN 0 521 40160 7.

Published online by Cambridge University Press:  01 January 2020

Isobel Preece
Isobel Preece*
Affiliation:
University of Newcastle upon Tyne
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract 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.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Review
Information
Journal of the Royal Musical Association , Volume 118 , Issue 2 , 1993 , pp. 300 - 307
Copyright
Copyright © 1993 Royal Musical Association

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Mantua, Archivio Storico Diocesano, Archivio della Basilica di Santa Barbara, MS 1.Google Scholar

2 For example, Percy A. Scholes, The Concise Oxford Dictionary of Music (Oxford, 1964), 355: ‘the Ordinary of the Mass, or Common of the Mass, i.e. the invariable part’; Donald J. Grout and Claude V. Palisca, A History of Western Music (4th edn, London, 1988), 47: ‘The invariable parts of the service are called the Ordinary of the Mass …, and include the Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei.‘Google Scholar

3 Hughes, Andrew, Medieval Manuscripts for Mass and Office (Toronto, 1982), 95.Google Scholar

4 See the discussion in Theodore Karp, ‘Towards a Critical Edition of Notre Dame Organa Dupla’, Musical Quarterly, 70 (1966), 350–67 (p. 362).Google Scholar

5 Die Quellenhandschriften zum Musihtrahtat des Johannes de Grocheio, ed. Ernst Rohloff (Leipzig, [1972]), 124, cited by Caldwell on p. 10.Google Scholar

6 See GB-Lbl Add. MS 4911, f. 103v.Google Scholar

7 Richardinus, Robertus, Commentary on the Rule of St Augustine, ed. George Gordon Coulton (Edinburgh, 1935). 80.Google Scholar

8 Strohm, Reinhard, Music in Late Medieval Bruges (Oxford, 1985), 40–1.Google Scholar

9 Edmond vander Straeten, La musique aux Pays-Bas avant le XIXe siècle, 8 vols. (Brussels, 1867–8), iii, 187; cited by Bloxam, p. 168.Google Scholar

10 Mother Thomas More, ‘The Performance of Plainsong in the Later Middle Ages and the Sixteenth Century’, Proceedings of the Royal Musical Association, 92 (1965–6), 121–34 (p. 125).Google Scholar

11 Richardinus, Commentary, 80.Google Scholar

12 Major, John, In quartum sententiarum (Paris, 1516), f. ccliii.Google Scholar

13 Knowles, Gerald, Patterns of Spoken English (London, 1987), 91–2.Google Scholar

14 Dom Eugène Cardine, Sémiologie grégorienne (Sablé-sur-Sarthe, 1970), 38.Google Scholar

15 Ibid., 48–55.Google Scholar