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Guillaume de Machaut was the foremost poet-composer of his time.
Studies look at all aspects of his prodigious output. Guillaume de
Machaut (1300-1377) is regarded as the greatest French
poet-composer of the middle ages, as he was during his lifetime. A
trained secretary, with a passion for collecting, copying and
ordering his own work, the numberof surviving notated musical works
attributed to him far exceeds that of any of his contemporaries.
All the main genres of song - lais, virelais, balades, and rondeaux
- together with Machaut's motets, and his famous Masscycle are
considered here from a variety of perspectives. These incorporate
the latest scholarly understanding of both Machaut's poetry and
music, and the material form they take when notated in the
surviving manuscripts. The bookthus presents a detailed picture of
the current range of interpretative approaches to Machaut's music,
focusing variously on counterpoint, musica ficta, text setting,
musico-poetic meanings, citation and intertextuality, tonality, and
compositional method. Several of Machaut's works are discussed by a
pair of contributors, who reach conclusions at times mutually
reinforcing or complementary, at times contradictory and mutually
exclusive. That Machaut's music thrives on such constructive debate
and disagreement is a tribute to his scope as an artist, and his
musico-poetic achievement. Contributors: JENNIFER BAIN, MARGARET
BENT, CHRISTIAN BERGER, JACQUES BOOGAART,THOMAS BROWN, ALICE V.
CLARK, JANE E. FLYNN, JEHOASH HIRSHBERG, KARL KUEGLE, ELIZABETH EVA
LEACH, DANIEL LEECH-WILKINSON, ETER M. LEFFERTS, WILLIAM PETER
MAHRT, KEVIN N. MOLL, VIRGINIA NEWES, YOLANDA PLUMLEY, OWEN REES,
ANNE STONE. ELIZABETH EVA LEACH lectures in music at Royal
Holloway, University of London.
Scholars and performers of the nineteenth and twentieth centuries attempted to revive music that could evoke the Middle Ages. They invented new sounds and new ways of understanding medieval music. This is the fascinating story of the musicians and the societies in which they worked to remake a lost musical world.
From the cylinder to the download, the practice of music has been
radically transformed by the development of recording and playback
technologies. This Companion provides a detailed overview of the
transformation, encompassing both classical and popular music.
Topics covered include the history of recording technology and the
businesses built on it; the impact of recording on performance
styles; studio practices, viewed from the perspectives of
performer, producer and engineer; and approaches to the study of
recordings. The main chapters are interspersed by 'short takes' -
short contributions by different practitioners, ranging from
classical or pop producers and performers to record collectors.
Combining basic information with a variety of perspectives on
records and recordings, this book will appeal not only to students
in a range of subjects from music to the media, but also to general
readers interested in a fundamental yet insufficiently understood
dimension of musical culture.
Shape is a concept widely used in talk about music. Musicians in
classical, popular, jazz and world musics use it to help them
rehearse, teach and think about what they do. Yet why is a word
that seems to require something to see or to touch so useful to
describe something that sounds? Music and Shape examines numerous
aspects of this surprisingly close relationship, with contributions
from scholars and musicians, artists, dancers, filmmakers, and
synaesthetes. The main chapters are provided by leading scholars
from music psychology, music analysis, music therapy, dance,
classical, jazz and popular music who examine how shape makes sense
in music from their varied points of view. Here we see shape
providing a key notion for the teaching and practice of performance
nuance or prosody; as a way of making relationships between sound
and body movement; as a link between improvisational as well as
compositional design and listener response, and between notation,
sound and cognition; and as a unimodal quality linked to vitality
affects. Reflections from practitioners, between the chapters,
offer complementary insights, embracing musical form, performance
and composition styles, body movement, rhythm, harmony, timbre,
narrative, emotions and feelings, and beginnings and endings. Music
and Shape opens up new perspectives on musical performance, music
psychology and music analysis, making explicit and open to
investigation a vital factor in musical thinking and experience
previously viewed merely as a metaphor.
From the cylinder to the download, the practice of music has been
radically transformed by the development of recording and playback
technologies. This 2009 Companion provides a detailed overview of
the transformation, encompassing both classical and popular music.
Topics covered include the history of recording technology and the
businesses built on it; the impact of recording on performance
styles; studio practices, viewed from the perspectives of
performer, producer and engineer; and approaches to the study of
recordings. The main chapters are interspersed by 'short takes' -
short contributions by different practitioners, ranging from
classical or pop producers and performers to record collectors.
Combining basic information with a variety of perspectives on
records and recordings, this book will appeal not only to students
in a range of subjects from music to the media, but also to general
readers interested in a fundamental yet insufficiently understood
dimension of musical culture.
Medieval music has been made and remade over the past two hundred
years. For the nineteenth century it was vocal, without
instrumental accompaniment, but with barbarous harmony that no one
could have wished to hear. For most of the twentieth century it was
instrumentally accompanied, increasingly colourful and increasingly
enjoyed. At the height of its popularity it sustained an industry
of players and instrument makers, all engaged in recreating an
apparently medieval performance practice. During the 1980s it
became vocal once more, exchanging colour and contrast for
cleanliness and beauty. But what happens to produce such radical
changes of perspective? And what can we learn from them about the
way we interact with the past? How much is really known about the
way medieval music sounded? Or have modern beliefs been formed and
sustained less by evidence than the personalities of scholars and
performers, their ideologies and their musical tastes?
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