Winner of the ASCAP Deems Taylor Award and Society of Music Theory's Wallace Berry Award This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.
|Publisher:||University of California Press|
|Edition description:||First Edition|
|Product dimensions:||6.00(w) x 9.00(h) x 1.00(d)|
About the Author
Anna Maria Busse Berger is Professor of Music at the University of California, Davis where she specializes in Medieval and Renaissance history and theory. She is the author of Mensuration and Proportion Signs: Origins and Evolution. First published in 2005, this book went on to win the ASCAP Deems Taylor Award and the Wallace Berry Award from the Society of Music Theory.
Table of Contents
ContentsList of IllustrationsList of TablesList of Music ExamplesAcknowledgmentsList of AbbreviationsIntroductionChapter 1. Prologue: The First Great Dead White Male ComposerPart 1. The Construction of the Memorial ArchiveChapter 2. Tonaries: A Tool for Memorizing ChantChapter 3. Basic Theory TreatisesChapter 4. The Memorization of Organum, Discant, and Counterpoint TreatisesPart 2. Compositional Process in Polyphonic MusicChapter 5. Compositional Process and the Transmission of Notre Dame PolyphonyChapter 6. Visualization and the Composition of Polyphonic MusicConclusionBibliographyIndex