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The influence of Rome on medieval plainsong and liturgy explored in
depth. Containing substantial new studies in music, liturgy,
history, art history, and palaeography from established and
emerging scholars, this volume takes a cross-disciplinary approach
to one of the most celebrated and vexing questions about plainsong
and liturgy in the Middle Ages: how to understand the influence of
Rome? Some essays address this question directly, examining Roman
sources, Roman liturgy, or Roman practice, whilst others consider
the sway ofRome more indirectly, by looking later sources, received
practices, or emerging traditions that owe a foundational debt to
Rome. Daniel J. DiCenso is Assistant Professor of Music at the
College of the Holy Cross; Rebecca Maloy is Professor of Musicology
at the University of Colorado Boulder. Contributors: Charles M.
Atkinson, Rebecca A. Baltzer, James Borders, Susan Boynton,
Catherine Carver, Daniel J. DiCenso, David Ganz, Barbara
Haggh-Huglo, David Hiley, Emma Hornby, Thomas Forrest Kelly,
William Mahrt, Charles B. McClendon, Luisa Nardini, Edward Nowacki
, Christopher Page, Susan Rankin, John F. Romano, Mary E. Wolinski
Comparative studies of medieval chant traditions in western Europe,
Byzantium and the Slavic nations illuminate music, literacy and
culture. Gregorian chant was the dominant liturgical music of the
medieval period, from the time it was adopted by Charlemagne's
court in the eighth century; but for centuries afterwards it
competed with other musical traditions, local repertories from the
great centres of Rome, Milan, Ravenna, Benevento, Toledo,
Constantinople, Jerusalem, and Kievan Rus, and comparative study of
these chant traditions can tell us much about music, liturgy,
literacy and culture a thousand years ago. This is the first
book-length work to look at the issues in a global, comprehensive
way, in the manner of the work of Kenneth Levy, the leading
exponent of comparative chant studies. It covers the four most
fruitful approaches for investigators: the creation and
transmission of chant texts, based on the psalms and other sources,
and their assemblage into liturgical books; the analysis and
comparison of musical modes and scales; the usesof neumatic
notation for writing down melodies, and the differences wrought by
developmental changes and notational reforms over the centuries;
and the use of case studies, in which the many variations in a
specific text or melodyare traced over time and geographical
distance. The book is therefore of profound importance for
historians of medieval music or religion - Western, Byzantine, or
Slavonic - and for anyone interested in issues of orality and
writing in the transmission of culture. PETER JEFFERY is Professor
of Music History, Princeton University. Contributors: JAMES W.
McKINNON, MARGOT FASSLER, MICHEL HUGLO, NICOLAS SCHIDLOVSKY, KEITH
FALCONER, PETER JEFFERY, DAVID G.HUGHES, SYSSE GUDRUN ENGBERG,
CHARLES M. ATKINSON, MILOS VELIMIROVIC, JORGEN RAASTED+, RUTH
STEINER, DIMITRIJE STEFANOVIC, ALEJANDRO PLANCHART.
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.
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.
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