The Rise of European Music, 1380-1500

Overview

By limiting its scope to the 120 years that witnessed perhaps the most dramatic expansion of our musical heritage, this book responds, in the 1990s, to the tremendous increase in specialized research and public awareness of that period. It is the most comprehensive survey since Gustave Reese wrote his Music in the Renaissance in 1954. The author presents fresh views in each chapter, discussing dozens of musical examples, adducing well-known and previously unknown documents, and referring to and evaluating the ...
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Overview

By limiting its scope to the 120 years that witnessed perhaps the most dramatic expansion of our musical heritage, this book responds, in the 1990s, to the tremendous increase in specialized research and public awareness of that period. It is the most comprehensive survey since Gustave Reese wrote his Music in the Renaissance in 1954. The author presents fresh views in each chapter, discussing dozens of musical examples, adducing well-known and previously unknown documents, and referring to and evaluating the most recent scholarship in the field. The issues discussed include the impact of the Great Schism on music, a reevaluation of English influence in Europe, the invention of the musical masterwork in the 1450s and the encounter of music and Renaissance in late fifteenth-century Italy and Spain.
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Editorial Reviews

From the Publisher
'Although the chief value of the author's monumental, single-volume assessment of The Rise of European Music 1380-1500 lies in the book's overview of and commentary on the fruits of recent scholarship, its fluent style should ensure easy access for the non-specialist reader.' Classical Music
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Product Details

  • ISBN-13: 9780521417457
  • Publisher: Cambridge University Press
  • Publication date: 12/9/1993
  • Pages: 736
  • Product dimensions: 5.98 (w) x 8.98 (h) x 2.24 (d)

Table of Contents

List of illustrations
List of tables
Preface
Introduction 1
Pt. I The age of the Great Schism 1378-1417 11
Introduction 13
1 The central tradition 23
Trends in sacred music 23
Aesthetic ambitions of the Ars subtilior 35
The pride of the isorhythmic motet 39
Writing and performing secular music 43
The ballade of the faithful Medea 46
Composers and patrons 53
2 The lateral traditions 62
Paris and the Low Countries 63
England 75
Italy 84
3 The Council of Constance 106
A new publicity of music 106
Sacred ceremonies 111
A 'conciliar repertory' 115
Secular song and its transformations 119
Pt. II The age of Dufay and Dunstable 125
Introduction 127
1 North and south 136
The genesis of the new style on the Continent 136
Dufay and his colleagues in Italy 1420-c. 1436 153
The chanson and Binchois 181
2 West and east 197
Anglo-continental relations and the Old Hall Manuscript 197
Insular practices 206
From the Old Hall Manuscript to the Caput Mass 211
A sweep through Europe 238
Pt. III The common traditions 267
1 Music in the life of the institutions 269
The Church and the world 269
Locations for music in the church: choir, nave and chapel 270
Chapel music and its performance 273
Choir music and chapel music compared 281
The functions of chapel music, and Dufay's last works 283
Schools and the Kantorei 287
The universities 291
Singing in public 294
Music in monastic life 296
Music and the secular authorities 300
Various public uses of music 302
The European scene 307
Various private uses of music 313
2 Monophonic song, simple polyphony and instrumental music 321
Developments of liturgical chant 321
The Latin cantio and related forms 327
Simple polyphony 333
European practices of vernacular song 339
Aspects of transmission, performance and notation 348
Instrumental ensemble music 357
Keyboard music 367
Pt. IV Europe after 1450: diversity and participation 375
1 Britain: homegrown glories 377
Musical institutions 378
The sacred repertory at home 382
Secular polyphony 390
Antiphon settings 394
Mass settings 402
2 France and the Low Countries: the invention of the masterwork 412
The enterprising 1450s 412
Mass and motet to c. 1465 414
Liturgical and devotional music: some sacred institutions 435
Secular song 441
Mass and motet from c. 1465 to c. 1480 462
Regis and Obrecht 481
3 Central Europe: masters and apprentices 489
Organists and song collectors 489
Chapels, schools and their music books 503
The musical patronage of the Habsburgs 518
Some particular developments of central Europe 524
4 Italy and Spain: the encounter of music and Renaissance 540
The Italian Quattrocento and the music historians 540
Courtly fashions: education and humanism 543
The improvvisatori; dance music 550
Foreign secular music 557
Native secular music in Italy and Spain 570
Music in the cathedrals and cities; music theory 585
Sacred polyphony in the courtly sphere 597
Music by Josquin and his competitors in Milan and Ferrara 608
Faces of musical humanism 633
List of music manuscripts 645
Bibliography 659
Index 683
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