This collection of studies presents unpublished material from the book Isobel Woods Preece was planning at the time of her death. It contains articles published by her and extracts from her dissertation on the Carvor Choirbook. There are also newly written chapters on medieval chant and polyphony by Warwick Edwards and on the music of the Reformed Church by Gordon Munro. Both scholarly and accessible, this work will be of importance to all with an interest in Scotland's Christian musical heritage. ISOBEL WOODS PREECE (1956-1997) was a major pioneer within Scottish music research. A graduate of the University of Glasgow, she subsequently become a Rotary International Graduate Fellow at Princeton University, where she wrote her doctoral dissertation under the supervision of Margaret Bent. She held the posts of lecturer, and later senior lecturer, in the Music Department at the University of Newcastle, where she was greatly respected as a scholar, teacher, administrator, conductor and performer.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism-the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages-powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Part) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

Euridice was one of several music-theatrical works commissioned to celebrate the wedding of Maria de' Medici and King Henri IV of France in Florence in October 1600. As the first 'opera' to survive complete, it has been viewed as a landmark work, but its libretto by Ottavio Rinuccini and music by Jacopo Peri and Giulio Caccini have tended to be studied in the abstract rather than as something to be performed in a specific time and place. Staging "Euridice" explores how newly-discovered documents can be used to precisely reconstruct every aspect of its original stage and sets in the room for which it was intended in the Palazzo Pitti. By also taking into account what the singers and instrumentalists did, what the audience saw and heard, and how things changed from creation through rehearsals to performance, this book brings new aspects of Euridice to light in startling ways.

This collection addresses questions of gender and sexuality as they relate to music from the middle ages to the early seventeenth century. These essays present a body of scholarship that considers music as part of the history of sexuality, stimulating conversation within musicology as well as bringing music studies into dialogue with feminist, gender and queer theory.

Emerging from the challenge to reconstruct sonic and spatial experiences of the deep past, this multidisciplinary collection of ten essays explores the intersection of liturgy, acoustics, and art in the churches of Constantinople, Jerusalem, Rome and Armenia, and reflects on the role digital technology can play in re-creating aspects of the sensually rich performance of the divine word. Engaging the material fabric of the buildings in relationship to the liturgical ritual, the book studies the structure of the rite, revealing the important role chant plays in it, and confronts both the acoustics of the physical spaces and the hermeneutic system of reception of the religious services. By then drawing on audio software modelling tools in order to reproduce some of the visual and aural aspects of these multi-sensory public rituals, it inaugurates a synthetic approach to the study of the premodern sacred space, which bridges humanities with exact sciences. The result is a rich contribution to the growing discipline of sound studies and an innovative convergence of the medieval and the digital.

The renaissance flute, with its rich history, stunning repertoire, and mellow tone, has attracted a significant following among flutists, whether they specialize in modern flute or historical instruments. Yet, actually delving into the study of renaissance flute has proven a challenge - there exists a confusing array of editions of renaissance music, specialized (and often expensive) facsimiles of manuscripts and early prints, and in unfamiliar notations, while at the same time there is a dearth of resources for beginners. Confronting this challenge with the first ever practitioners' handbook for renaissance flute, Kate Clark and Amanda Markwick offer flutists of all levels a clear and accessible introduction to the world and repertoire of the instrument. In The Renaissance Flute: A Contemporary Guide, Clark and Markwick cover all aspects, from practicalities such as buying and maintaining the instrument, to actual music for solo and group performance, to theory designed to improve the understanding and playing of renaissance polyphony. This approach enables students to immerse themselves at their own pace and build on their skills with each chapter. With nearly 40 full pages of exercises, and a companion website with recorded examples and filmed instructions from the authors, The Renaissance Flute provides professionals and newcomers alike a new entryway into the world and practice of renaissance music.

The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music.

This book presents 60 of the very best madrigals for SATB, chosen from the many hundreds of possible candidates. The major composers of the genre are each represented by several madrigals and the lesser figures by one or more.

This study investigates an almost unknown musical culture: that of cloistered nuns in one of the major cities of early modern Europe. These women were the most famous musicians of Milan, and the music composed for them opens up a hitherto unstudied musical repertory, which allows insight into the symbolic world of the city. Even more importantly, the music actually composed by four such nuns, Claudia Scossa, Claudia Rusca, Chiara Margarita Cozzollani, and Rosa Giacinta Badalla - reveals the musical expression of women's devotional life. The two centuries' worth of battles over nuns' singing of polyphony, studies here for the first time on the basis of massive archival documentation, also suggest that the implementation of reform in the major centre of post-Tridentine Catholic renewal was far more varied; incomplete, subject to local political pressure and individual interpretation, and short-lived than any religious historian has ever suggested. Other factors that marked nuns' musical lives and creative output - liturgical traditions of the religious orders, the problems of performance practice attendant upon all-female singing ensembles - are here addressed for the first time in the musicological literature.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

* Dismisses traditional, chronological format designed around European western canon to meets needs of today's ethnically diverse students, who identify their heritage as Asian, African, or Central American rather than European * Builds on a series of chapter-long theme-oriented narratives such as ethnicity, gender, spirituality, love, technology, that interweave the musical "here and now" * Focuses on how music creates and reflects social meaning in a variety of cultures and time periods. * Leads the student from music or ideas with which they are familiar to music that is unfamiliar, always through the connecting thread of the original social concept.

Musical notation is a powerful system of communication between musicians, using sophisticated symbolic, primarily non-verbal means to express musical events in visual symbols. Many musicians take the system for granted, having internalized it and their strategies for reading it and translating it into sound over long years of study and practice. This book traces the development of that system by combining chronological and thematic approaches to show the historical and musical context in which these developments took place. Simultaneously, the book considers the way in which this symbolic language communicates to those literate in it, discussing how its features facilitate or hinder fluent comprehension in the real-time environment of performance. Moreover, the topic of musical as opposed to notational innovation forms another thread of the treatment, as the author investigates instances where musical developments stimulated notational attributes, or notational innovations made practicable advances in musical style.

The volume includes detailed studies concerning various aspects of the musical culture of Silesia from the fifteenth to mid-eighteenth centuries. The authors, who represent academic centres in Poland, Czech Republic, Germany, Slovakia, Holland, France and Great Britain, present new sources, as well as reinterpreting previously known facts and phenomena. What makes the approach here so original is that it takes into account the wider context of musical culture in Silesia, not limited to examining it exclusively in relation to the Polish, Czech or German cultures. Here we can see Silesia as one of the regions of Central Europe, and not merely as a western province of Poland, northern province of the Czech Kingdom, or eastern province of Prussia.

In the London of Shakespeare and William Byrd, Thomas East was the premier, often exclusive, printer of music. As he tells the story of this influential figure in early English music publishing, Jeremy Smith also offers a vivid overall portrait of a bustling and competitive industry, in which composers, patrons, publishers, and tradesmen sparred for creative control and financial success. It provides a truly comprehensive study of music publishing and a new way of understanding the place of musical culture in Elizabethan times. In addition, Smith has compiled the first complete chronology of East's music prints, based on both bibliographical and paper-based evidence.

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

The printed debut of the canzone villanesca alla napolitana occurred on 24 October 1537, in Naples. Fifteen anonymous 'rustic songs' were published by Johannes de Colonia in a pocket-sized anthology with a cover featuring three women with hoes tilling the soil. The adjective villanesca (from villano or peasant) in the strict sense of the word means rustic or crude, but in this new context it also intimates that Neapolitan poet-musicians had been affected by the instinctive lyrical traditions of everyday people. The articles in this volume trace the Neapolitan origins of this song form, and its subsequent development as it spread quickly throughout Italy in a succession of editions published in Venice and Rome, providing a diverse repertory of lively songs to amuse the privileged that held and attended academies. Several studies focus on key figures in this process, notably Ferrante Sanseverino, Prince of Salerno, and Orlando di Lasso. At the same time the author relates these developments to the contemporary political context, notably the rivalry of Spain and France for control of the Kingdom of Naples.

In 1893, the English composer and director of the Royal College of Music C. Hubert H. Parry published Summary of the Development of Medieval and Modern European Music, an overview of European music from the middle ages to the work of Schubert and Brahms. Intended for music students, the book summarises the major composers, their work and the social circumstances that surrounded the creation of their music. This ambitious book is divided into 12 chronological chapters, from the troubadours and plainsong, through Bach and Handel to the rise of the symphony, Mozart, and the emergence of music as an expression of nationalism. In the book's first part, Parry deftly puts music in historical context, discussing England's Wars of the Roses, and the Reformation in relation to the changing styles throughout the sixteenth century; he then explores the music of the Restoration and the rise of opera.

These nineteen essays by a leading scholar of Italian Renaissance music provide a corpus of significant research into Italian music and music theory of the late sixteenth and early seventeenth centuries. The essays further illuminate the interaction between music theory and practice and between the humanist revival of antiquity and modern ideals of expression in the decades around 1600.

The Cambridge Songs are preserved - many of them uniquely - in a famous eleventh-century manuscript held in Cambridge University Library. Composed in Germany, mostly in Latin but with some vernacular sections, these lyrics are most notable for the variety they display in both genre and form. As one of the earliest examples of medieval secular song-writing they are a key part of the canon of European literature. This 1915 edition was the first to reproduce the complete text with facing-page transcriptions. Karl Breul, originally from Berlin, became the first university lecturer in German in 1884, and remained the most eminent Germanist at Cambridge until his death in 1932. His edition continues to be of value to medievalists today both as a source for the study of these remarkable poems and as a record of Breul's achievement in scholarship and palaeography.

Based on extensive documentary and archival research, Music in Renaissance Ferrara is a study of the rise of music at a vital center of Italian Renaissance culture, focusing on the patrons and musicians whose efforts gave Ferrara a primary role in European music during the fifteenth century. The successive rulers of the Italian city-state, members of the Este dynasty, brought to Ferrara some of the most important composers of the period, including Guillaume Dufay, Johannes Martini, Jacob Obrecht, and Josquin Desprez. Moreover, Ferrara has long been famous as the seat of activity of three of the most important poets of the period - Boiardo, Ariosto, and Tasso - as well as for its school of painting and manuscript production and illumination. With Lewis Lockwood's Music in Renaissance Ferrara, the city-state steps forward as a major musical center as well.
Winner of the Otto Kinkeldey Award of the American Musicological Society for its original 1985 edition, this current paperback edition of Music in Renaissance Ferrara features a new preface that re-introduces the book and reflects on its contribution to our modern knowledge of music in the culture of the Italian Renaissance.

A redefinition of the animal's relationship to sound and language in French texts from medieval England. The barks, hoots and howls of animals and birds pierce through the experience of medieval texts. In captivating episodes of communication between species, a mandrake shrieks when uprooted from the ground, a saint preaches to the animals, and a cuckoo causes turmoil at the parliament of birds with his familiar call. This book considers a range of such episodes in Old French verse texts, including bestiaries, treatises on language, the Life of Saint Francis of Assisi and the Fables by Marie de France, aiming to reconceptualize and reinterpret animal soundscapes. It argues that they draw on sound to produce competing perspectives, forms of life, and linguistic subjectivities, suggesting that humans owe more to animal sounds than we are disposed to believe. Texts inviting readers to listen and learn animal noises, to seek spiritual consolation in the jargon of birds, or to identify with the speaking wolf, create the conditions for an assertion of human exceptionalism even as they simultaneously invite readers to question such forms of control. By asking what it means for an animal to cry, make noise, or speak in French, this book provides an important resource for theorizing sound and animality in multilingual medieval contexts, and for understanding the animal's role in the interpretation of the natural world.

This book describes the many ways in which music was used in Italian theatrical performances between the late fifteenth and early seventeenth centuries. In particular, it concentrates on Polizano's Orfeo, Machiavelli's commedies, the Florentine intermedi and early operas, and the first operas in Venice.

A translation of three works from the second half of the 13th century: Rutebeuf's Renart le Bestourné, the anonymous Le Couronnement de Renart and Jacquemart Gielée's Renart le Nouvel. These savage and highly entertaining satires are in a league of their own, and Renart le Nouvel contains important music which is reproduced in the text.

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 twenty-three include: Guillaume de Machaut and his canonry of Reims 1338-1377; 'Notes as a garland': the chronology and narrative of Byrd's Gradualia; Reading carnival: the creation of a Florentine carnival song; Schein's occasional music and the social order in 1620s Leipzig.