MTU Library Catalogue

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Companion to medieval and renaissance music / edited by Tess Knighton and David Fallows.

By: Knighton, Tess, 1957-.
Contributor(s): Knighton, Tess, 1957- | Fallows, David.
Material type: materialTypeLabelBookCopyright date: ©1992Description: xx, 428p.; 24 cm. + pbk.Content type: text Media type: unmediated Carrier type: volumeISBN: 0198165404 (paperback); 9780198165408 (paperback).Subject(s): Music -- 500-1400 -- History and criticism | Music -- 15th century -- History and criticism | Music -- 16th century -- History and criticismDDC classification: 780.902 KNI
Contents:
The music of the past and the modern ear -- Aspects of music and society -- Questions of form and style -- Using the evidence -- Pre-performance decisions -- Performance techniques.
Holdings
Item type Current library Call number Copy number Status Notes Barcode
General lending MTU Cork School of Music Library Lending 780.902 (Browse shelf(Opens below)) 1 Available 00204255
General lending MTU Kerry North Campus Library Store 780.902 KNI (Browse shelf(Opens below)) Available Available on Top Floor of the Library. 38888000454524
General lending MTU Kerry North Campus Library Store 780.902 KNI (Browse shelf(Opens below)) Available Available on Top Floor of the Library. 38888000454516
Total holds: 0

Enhanced descriptions from Syndetics:

Forty-five eminent writers and performers present their views and analyse the outstanding issues concerning music before 1600. How do we judge it? What are the main problems in its performance and appreciation? Where do we look for answers, and what help can we find in the figurative arts, manuscripts, and modern performance techniques?

Originally published: London : J.M. Dent, 1992.

Includes bibliographical references and index.

The music of the past and the modern ear -- Aspects of music and society -- Questions of form and style -- Using the evidence -- Pre-performance decisions -- Performance techniques.

Table of contents provided by Syndetics

  • Illustrations
  • Music examples
  • Abbreviations
  • Introduction
  • Contributors
  • I The Music of the Past and the Modern Ear
  • 1 The good, the bad, and the boring
  • 2 Value Judgements in music of the Renaissance
  • 3 The English a cappella heresy
  • 4 Going down on record
  • 5 The work is not the performance
  • 6 Beyond authenticity
  • 7 Hard-sell, scholarship, and silly titles
  • II Aspects of Music and Society
  • 8 Centre and periphery: mainstream and provincial music
  • 9 The meeting of sacred ritual and secular piety: endowments for music
  • 10 Ritual reflections
  • 11 Musicus and cantor
  • 12 A day in the life of Francisco de Peñalosa
  • 13 A portrait of Sir Henry Unton
  • 14 Women's history and early music
  • III Questions of Form and StyleGenres: Vocal
  • 15 Chant, or the politics of inscription
  • 16 Monophonic song: quesions of category
  • 17 Early Western polyphony
  • 18 The late-medieval motet
  • 19 Mass polyphony
  • 20 Polyphonic song
  • 21 Genre and function: some thoughts on Italian secular vocal music in the sixteenth century Genres: Instrumental
  • 22 Fourteenth- and fifteenth-century keyboard music
  • 23 Plucked instruments: silver tones of a golden age
  • 24 The medieval fiddle: reflections of a performer
  • 25 On the trail of ensemble music in the fifteenth century
  • 26 Wind ensembles in the RenaissanceTechniques of Composition
  • 27 Musical design and the rise of the cyclic Mass
  • 28 Borrowed music: `Allez regrets' and the use of pre-existent material
  • IV Using the Evidence
  • 29 Music and pictures in the Middle Ages
  • 30 Music in Italian Renaissance painting
  • 31 Echoes of the past in the present
  • 32 Surviving instruments
  • 33 Unwritten and written music
  • 34 Researching the past: archival studies
  • 35 A manuscript case-study
  • V Pre-Performance Decisions
  • 36 The editor: diplomat or dictator?
  • 37 Mode
  • 38 Musica ficta
  • 39 Renaissance pitch
  • 40 Is underlay necessary?
  • 41 Restored pronunciation
  • 42 Finding the right context: where to perform early music
  • VI Performance Techniques
  • 43 Framing the life of the words
  • 44 Reconstructing lost voices
  • 45 Pythagoras at the forge: tuning in early music
  • 46 Tempo to 1500
  • 47 Tempo and tactus after 1500
  • 48 Divisions in Renaissance music
  • 49 `Perfect' instruments
  • Chronology
  • Glossary
  • Index

Reviews provided by Syndetics

CHOICE Review

It is hard to imagine a better survey of the current state of research in all aspects of the music of these two periods as a supplement to more general histories such as those of Richard H. Hoppin (Medieval Music, CH, Dec'78) or Jeremy Yudkin (Music in Medieval Europe, 1989). Forty-five musicologists, theorists, and performers have written short essays, almost all with appended bibliographies, addressing specialties from the pronunciation and vocal production of Tudor English to value judgments in repertory choices to rediscovering the oral tradition. Many contributions are presented from the newly popular ethnomusicological approach. Almost all contributors write in an informal conversation style, removing the possibility of intimidation that their frequently esoteric topics might suggest. An extensive glossary of musicians and terms and a chronology are ancillary companions to this excellent collection. A fascinating and timely symposium for listeners and scholars who have some familiarity with the basics of chronology and genre; an excellent stimulus for further research. Undergraduate; graduate; faculty; professionals. J. P. Ambrose; University of Vermont

Author notes provided by Syndetics

Tess Knighton is Fellow of Clare College, Cambridge and the editor of the journal Early Music. David Fallows is Reader in Music at Manchester University.