Companion to Medieval and Renaissance Music / Edition 1

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Overview

With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.

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Product Details

  • ISBN-13: 9780520210813
  • Publisher: University of California Press
  • Publication date: 3/26/1998
  • Edition description: Reprint
  • Edition number: 1
  • Pages: 448
  • Product dimensions: 6.13 (w) x 9.25 (h) x 1.13 (d)

Meet the Author

Tess Knighton is a lecturer in music history at Cambridge University and the editor of Early Music. David Fallows teaches at the University of Manchester and is the author of Dufay (1982) and Book and Music Review Editor of Early Music.

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Table of Contents

Illustrations
Music examples
Abbreviations
Introduction
Contributors
I The music of the past and the modern ear
1 The good, the bad and the boring 3
2 Value judgments in music of the Renaissance 15
3 The English a cappella heresy 23
4 Going down on record 30
5 The work is not the performance 36
6 Beyond authenticity 44
7 Hard-sell, scholarship and silly titles 48
II Aspects of music and society
8 Centre and periphery: mainstream and provincial music 55
9 The meeting of sacred ritual and secular piety: endowments for music 60
10 Ritual reflections 69
11 Musicus and cantor 74
12 A day in the life of Francisco de Penalosa 79
13 A portrait of Sir Henry Unton 85
14 Women's history and early music 93
III Questions of form and style
Genres: Vocal
15 Chant, or the politics of inscription 101
16 Monophonic song: questions of category 104
17 Early Western polyphony 107
18 The late-medieval motet 114
19 Mass polyphony 120
20 Polyphonic song 123
21 Genre and function: some thoughts on Italian secular vocal music in the sixteenth century 127
Genres: Instrumental
22 Fourteenth- and fifteenth-century keyboard music 131
23 Plucked instruments: silver tones of a golden age 135
24 The medieval fiddle: reflections of a performer 138
25 On the trail of ensemble music in the fifteenth century 143
26 Wind ensembles in the Renaissance 146
Techniques of Composition
27 Musical design and the rise of the cyclic Mass 154
28 Borrowed music: 'Allez regrets' and the use of pre-existent material 165
IV Using the evidence
29 Music and pictures in the Middle Ages 179
30 Music in Italian Renaissance painting 189
31 Echoes of the past in the present 210
32 Surviving instruments 223
33 Unwritten and written music 228
34 Researching the past: archival studies 234
35 A manuscript case-study 239
V Pre-performance decisions
36 The editor: diplomat or dictator? 249
37 Mode 255
38 Musicaficta 265
39 Renaissance pitch 275
40 Is underlay necessary? 284
41 Restored pronunciation 292
42 Finding the right context: where to perform early music 300
VI Performance techniques
43 Framing the life of the words 307
44 Reconstructing lost voices 311
45 Pythagoras at the forge: tuning in early music 317
46 Tempo to 1500 327
47 Tempo and tactus after 1500 337
48 Divisions in Renaissance music 345
49 'Perfect' instruments 354
Chronology 366
Glossary 377
Index 418
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