Music in Ancient Greece and Rome provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Chapters include:
* contexts in which music played a role
* a detailed discussion of instruments
* an analysis of scales, intervals and tuning
* the principal types of rhythm used
* an exploration of Greek theories of harmony and acoustics
Music in Ancient Greece and Rome also contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them.

eBook available with sample pages: 0203042840

The Language of the Modes provides a study of modes in early music through eight essays, each dealing with a different aspects of modality. The volume codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. For many music students and listeners, the "language of the modes" is a deep mystery, accustomed as we are to centuries of modern harmony. Wiering demystifies the modal world, showing how composers and performers were able to use this structure to create compelling and beautiful works. This book will be an invaluable source to scholars of early music and music theory. in early music through eight essays, each dealing with a different aspects of modality. It codifies all known theoretical references to mode, all modally ordered musical sources, and all modally cyclic compositions. This book will be an invaluable source to scholars of early music.

This is the first volume of a magisterial survey of English music that charts its development from its beginnings in the early monastic institutions to the rise of 17th-century opera and masque and instrumental music, culminating in the genius of Henry Purcell.

The music of the medieval, Renaissance, and baroque periods have been repeatedly discarded and rediscovered ever since they were new. An interest in music of the past has been characteristic of a part of the musical world since the early 19th century. The revival of Gregorian chant in the early 19th century; the "Cecilian movement" in later 19th-century Germany seeking to immortalize Palestrina's music as a sound-ideal; Mendelssohn's revival of Bach: these are some of the efforts made in the past to restore still earlier music. In recent years this interest has taken on particular meaning, representing two specific trends: first, a rediscovery of little-known underappreciated repertories, and second, an effort to recover lost performing styles, with the conviction that such music will come to life anew with the right performance. Much has been gained in the 20th century from the study and revival of instruments, playing techniques, and repertories. In this VSI, Thomas Forrest Kelly frames chapters on the forms, techniques, and repertories practices of the medieval, Renaissance, and baroque periods with discussion of why old music has been and should be revived, as well as a short history of early music revivals. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

The Sound of Medieval Song is a study of how sacred and secular music was actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period. Detailed descriptions of the types and uses of improvised ornament indicate that in performance the music was highly ornate, and included trill, gliss, reverberation, pulsation, pitch inflection, non-diatonic tones, and cadenza-like passages of various lengths. The treatises also provide evidence of stylistic differences in various geographical locations. McGee draws conclusions about the kind of vocal production and techniques necessary in order to reproduce the music as it was performed during the Middle Ages, aligning the practices much more closely with those of the Middle East than has ever been previously acknowledged.

It is the only anthology which includes all thirty-one English lyrics from MS Harley 2253, all the verses by Friar Herebert printed in Brown XIV, and all the important poems given in Robbins' Secular Lyrics. In all there are 245 lyrics, arranged thematically. To make these delightful poems accessible to the modern reader, the editors have removed many of the orthographic impediments inherent in Middle English verse and have modernized punctuation, capitalization, and obsolete letters while scrupulously seeking to retain the substantive integrity of the poems. "Critical and Historical Backgrounds" are provided in essays by Peter Dronke, Stephen Manning, Raymond Oliver, and Rosemary Woolf. In a special section, six poems are singled out for critical comment by A. K. Moore, Edmund Reiss, D. W. Robertson, Jr., E. T. Donaldson, John Speirs, Thomas Jemielity, D. G. Halliburton, Leo Spitzer, and others. Two of these lyrics, "Maiden in the mor lay" and "I sing of a maiden," are discussed by four different scholars. In all, twenty-five poems are discussed in the essays. The volume also includes a list of Abbreviations, a Table of Textual Sources and Dates, a Select Bibliography, and an Index of First Lines.

Though we can no longer hear how it sounded, the written sources that remain provide much information on the music of the medieval Islamic and Jewish worlds, on how it was regarded and on the importance that was attached to it. Amnon Shiloah has been a pioneer in the exploration of these sources, and the present volume brings together some of the results. The opening studies examine, with annotated translations, several key works expounding the meaning of music and its power, in terms of its ethical and therapeutic effects and properties. The following articles focus on scientific writings about music and on the transmission of musical knowledge, while the final section approaches the subject from the angle of religion, noting how the power attributed to music occasioned the distrust of many religious figures, who feared its capacity to deprave and debase its audience. Bien que nous ne puissions plus de nos jours l'entendre, les sources ecrites qui ont survecu apportent enormement d'information sur la musique des mondes juifs et islamiques, sur l'importance qui y etait attachee et sur son rAle. Le professeur Shiloah est un des pionniers en terme d'exploration de ces sources et le present volume rassemble un certain nombre des resultats de ses recherches. Les premieres etudes, accompagnees de traductions annotees, font l'examen de plusieurs travaux importants, exposant la signification de la musique et sa puissance de par ses effets et ses proprietes morales et therapeutiques. Les articles suivants se concentrent sur les ecrits scientifiques au sujet de la musique et sur la propagation de la connaissance musicale. La derniere section aborde le sujet A partir de l'aspect de la religion, soulignant combien le pouvoir attribue A la musique entraA (R)nait une certaine mefiance de la part d'un certain nombre de religieux, qui craignaient son aptitude A avilir et depraver ceux qui l'ecoutaient.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Originally entitled Musicology, in this work musicians are shown how to perform concertos by Vivaldi and his contemporaries in a way that would be recognized and encouraged by their composers. In addition, the key role of Sir Thomas Beecham as a pioneer in early music receives its proper credit and appreciation.

Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition. Written for musicians and non-musicians alike.

for organ
Part of the progressive series for manuals, this sixth book includes 15 titles for the advanced organist.

This is the final volume in the set of four collections of Michel Huglo's articles to be published in the Variorum series, and focuses on medieval music theory. The point of departure for Huglo's research was his doctoral dissertation on tonaries, published in 1971: as a consequence, he studied the manuscripts of music theory concerning plainchant, and, later, those with writings on music by authors of Late Antiquity as well as the Liber glossarum, with its many definitions of musical terms. In this volume, certain articles consider the interpretation or dissemination of texts, instruction in the art of plainchant, and musical instruction at the university. Others concern the manuscripts of St Augustine's De musica and of the writings of Calcidius, Macrobius, Helisachar, Hucbald, Gerbert of Aurillac, Abbo of Fleury, John of Afflighem, and Hieronymus de Moravia, amongst others. The volume closes with a bibliography of Michel Huglo complementing that published in 1993 and a summary list of his reviews of books on music and liturgy. Ce volume des articles de Michel Huglo termine la serie de quatre dans la collection Variorum. Il est centre sur la theorie musicale medievale. Le point de depart des recherches de Michel Huglo sur la theorie musicale du Moyen A'ge est forme par sa these sur les tonaires, editee en 1971: en consequence il etudia les manuscrits de theorie musicale concernant le plain-chant et, plus tard, les auteurs de l'Antiquite tardive et le Liber glossarum qui contient des definitions de nombreux termes musicaux. Dans ce volume, certains articles traitent de l'interpretation ou de la dissemination des textes, des instructions sur l'art du chant, et sur l'enseignement de la musique A l'Universite. Ils concernent les manuscrits du De musica d'Augustin, de Calcidius, Macrobe, Helisachar, Hucbald, Gerbert d'Aurillac, Abbon de Fleury, Jean d'Afflighem, Hieronymus de Moravia, et d'autres auteurs. Enfin, ce volume contient la bibliographie de

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Life in ancient Greece was musical life. Soloists competed onstage for popular accolades, becoming centrepieces for cultural conversation and even leading Plato to recommend that certain forms of music be banned from his ideal society. And the music didn't stop when the audience left the theatre: melody and rhythm were woven into the whole fabric of daily existence for the Greeks. Vocal and instrumental songs were part of religious rituals, dramatic performances, dinner parties, and even military campaigns. Like Detroit in the 1960s or Vienna in the 18th century, Athens in the 400s BC was the hotspot where celebrated artists collaborated and diverse strands of musical tradition converged. The conversations and innovations that unfolded there would lay the groundwork for musical theory and practice in Greece and Rome for centuries to come. In this perfectly pitched introduction, Spencer Klavan explores Greek music's origins, forms, and place in society. In recent years, state-of-the-art research and digital technology have enabled us to decipher and understand Greek music with unprecedented precision. Yet many readers today cannot access the resources that would enable them to grapple with this richly rewarding subject. Arcane technical details and obscure jargon veil the subject - it is rarely known, for instance, that authentic melodies still survive from antiquity, helping us to imagine the vivid soundscapes of the Classical and Hellenistic eras. Music in Ancient Greece distills the latest discoveries into vivid prose so readers can come to grips with the basics as never before. With the tools in this book, beginners and specialists alike will learn to hear the ancient world afresh and come away with a new, musical perspective on their favourite classical texts.

Vincenzo Galilei, the father of the astronomer Galileo, was a guiding light of the Florentine Camerata. His Dialogue on Ancient and Modern Music, published in 1581 or 1582 and now translated into English for the first time, was among the most influential music treatises of his era. Galilei is best known for his rejection of modern polyphonic music in favor of Greek monophonic song. The treatise sheds new light on his importance, both as a musician who advocated a new philosophy of music history and theory based on an objective search for the truth, and as an experimental scientist who was one of the founders of modern acoustics.

Early Music History is devoted to the study of music from the early Middle Ages to the end of the seventeenth century. It demands the highest standards of scholarship from its contributors, all of whom are leading academics in their fields. It gives preference to studies pursuing interdisciplinary approaches and to those developing novel methodological ideas. The scope is exceptionally broad and includes manuscript studies, textual criticism, iconography, studies of the relationship between words and music and the relationship between music and society. Articles in volume eighteen include: The sources and significance of the Orpheus myth in Musica Enchiriadis and Regino of Prum's Epistola de harmonica institutione; 'Premierement ma baronnie de Chasteauneuf': Jean de Ockeghem, treasurer of St Martin's in Tours; Citation and allusion in the late Ars nova: the case of Esperance and the En attendant songs.

A comedy of Aristophanes was in large measure a musical performance, and his lyric verse covers a wide range of styles - from popular song to parody of tragedy. The music is lost, and our only way of recovering something of the experience of an Athenian audience is by studying the rhythms of the poetry. This book provides a full text, with scansions, of the lyric of the surviving plays, and an introduction to the different rhythms used by Aristophanes, their origins, and literary associations. Dr Parker pays particular attention to showing the role played by lyric metre in the structure of the plays and to distinguishing the different levels of musical style, thus illustrating the integral part metre plays in Aristophanes' dramatic art and satire. She also discusses fully the metrical aspects of textual problems in Aristophanes' lyric, and a section of the introduction traces the evolution of the study of Aristophanes' metres and the influence this has on the text.

Music in Ancient Greece and Rome provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Chapters include:
* contexts in which music played a role
* a detailed discussion of instruments
* an analysis of scales, intervals and tuning
* the principal types of rhythm used
* and an exploration of Greek theories of harmony and acoustics.
Music in Ancient Greece and Rome also contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them.

From the series examining the development of music in specific places during particular times, this book looks at ancient and medieval music, from Classical and Christian antiquity to the emergence of the Gregorian chant and the medieval town and Court.

Offering a broad perspective of the philosophy, theory, and aesthetics of early Indian music and musical ideology, this study makes a unique contribution to our knowledge of the ancient foundations of India's musical culture. Lewis Rowell reconstructs the tunings, scales, modes, rhythms, gestures, formal patterns, and genres of Indian music from Vedic times to the thirteenth century, presenting not so much a history as a thematic analysis and interpretation of India's magnificent musical heritage.
In Indian culture, music forms an integral part of a broad framework of ideas that includes philosophy, cosmology, religion, literature, and science. Rowell works with the known theoretical treatises and the oral tradition in an effort to place the technical details of musical practice in their full cultural context. Many quotations from the original Sanskrit appear here in English translation for the first time, and the necessary technical information is presented in terms accessible to the nonspecialist. These features, combined with Rowell's glossary of Sanskrit terms and extensive bibliography, make "Music and Musical Thought in Early India" an excellent introduction for the general reader and an indispensable reference for ethnomusicologists, historical musicologists, music theorists, and Indologists.

Music was everywhere in ancient Rome. Wherever one went in the sprawling city, the sound of singing and piping, drumming and strumming was never far out of earshot. This book examines the role of music in Roman politics and society, focusing on the period from the Roman conquest of Greece in the second century BCE to the end of the reign of Nero in 68 CE. Drawing on a wide range of literary texts, inscriptions and material artefacts, Harry Morgan uncovers the tensions between elite and popular attitudes towards music and shows how music was exploited as a tool by political leaders and emperors. Far from being a marginal aspect of daily life, music was fundamental to Roman political culture and social relations, shaping debates about class, gender and ethnicity. The book will be of interest to students and scholars of ancient music and Roman history.

Papers in Anglo-Norman history including new research on music, the Bayeux Tapestry and Domesday studies. Papers on a very wide range of subjects include, for the first time, one on music, on changes in English chant repertories in the eleventh century; book migrations are examined over the same period, and one of the two papers on the Bayeaux Tapestry looks at changing representations of the "burgheat". There are important papers on law and church administration and the relations of Normandy and England with other regions. The development of Rouen is comparedwith that of Paris; William the Conqueror's relations with Blois and Champagne are discussed; papers on the frontier with the Scots and on Rhys ap Teudur, king of Deheubarth are included. Domesday studies, chronicles and poetry are also represented with new research. Contributors W.M. AIRD, ROBERT BABCOCK, PAUL BRAND, SHIRLEY ANN BROWN, MICHAEL HERREN, EDOARDO D'ANGELO, DAVID DUMVILLE, JEAN DUNBABIN, BERNARD GAUTHIEZ, DAVID HILEY, B.R. KEMP, DEREK RENN, MARY FRANCES SMITH, BENJAMIN THOMPSON, SALLY VAUGHN, JOHN BRYAN WILLIAMS. 16. 1993: St Cuthbert, the Scots and the Normans; Rhys ap Tewdwr; 13c Litigation; Bayeaux Tapestry; Falco of Benevento's Chronicle; Anglo-Saxon Books on Norman Hands; Geoffrey of Chaumont, Thibaud of Blois and William the Conqueror; Paris, un Rouen capetien? 11c English Chant Repertories; Appointment of Parochial Incumbents in 12c England; Burgheat and Gonfanon; ArchbishopStigand; Free Alms Tenure in 12c; Anselm in Italy 1097-1100; Judhael of Totnes.

for organ
Part of the progressive series for manuals, this fifth book includes 13 titles for the advanced organist.

for organ
Part of the progressive series for manuals, this fourth book includes 14 titles for the advanced organist.

In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.