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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
A long-needed overview of, and guide to, the principles behind the
treatises on music theory written in ancient Greece and Rome and
continuing through the Middle Ages. Long recognized as a foundation
of musical composition, criticism, pedagogy, and appreciation, the
literature of ancient and medieval music theory has maintained its
strong position in the academic curriculum up to the present day.
Now blessed with fine English translations of many of the ancient
and medieval authors, modern students of music theory have
advantages that their predecessors lacked just a few generations
ago. Yet the ancient writings by themselves do not yield to easy
comprehension. They need expository help. In this collection of
fifteen topical essays, the author offers a contribution to that
educational goal. Covering a dense theoretical literature from the
classical period of ancient Greece to the sixteenth century of the
Common Era, these essays present a detailed examination of subjects
of concern not only to specialists in the history of theory, but to
scholars of the general history ofancient Greek music and the
liturgical plainchant of the medieval West. More than just a
collection of specialized studies or a syllabus of obligatory
learning, these essays present a persistent reflection on the
timelessness of theoretical questions that engaged our musical
forebears and that still engage us today. The author's approach is
perennialist. It teaches us things about our musical heritage that
never go away.
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