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.
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