Tonal consciousness, in the sense of a clear intuition about which
note or chord a piece of music will finish on, is as much a part of
our everyday experience of music as it is of contemporary music
theory. This book asks to what extent such tonal consciousness
might have operated in the minds of musicians of the Middle Ages,
given the different tone world found in the modes of Gregorian
chant, in troubadour and trouvere music, in Minnesang and in the
early polyphony based upon chant. The author's approach is
analytical, focusing on modality and balancing up-to-date concepts
and methods of music analysis with those insights into their own
compositional needs and processes that the people of the Middle
Ages provided themselves through their writings about music. The
book examines a range of both music sources and theoretical sources
from the ninth to the thirteenth centuries. This is a
ground-breaking contribution both to the study of medieval music
and to music analysis.
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