Studies in the Performance of Late Medieval Music
Published on 30. October 2008
Book
Paperback/Softback
324 pages
978-0-521-08831-2 (ISBN)
Description
This volume presents a series of important essays by American and European scholars on some of the problems involved in attempting to perform music of the late Middle ages. The essays are based on papers read at a conference held at the New York University Center for Early Music in 1981 and they concern a varied selection of aspects of the subject; behind many lies an interest in the reopened question of how far instruments had a role in performing secular or sacred music. Among the questions tackled are: the types of harps found in fourteenth-century Italy, and their probable uses; the numbers of singers needed (with their ranges) for fourteenth-century English music; evidence for the use of instruments in the thirteenth century and for wind articulation in the late fourteenth; specific performing ensembles of the fifteenth century, and what they may have sung in a polyphonic Mass.
More details
Language
English
Place of publication
Cambridge
United Kingdom
Target group
Professional and scholarly
Product notice
Paperback (trade)
Illustrations
Worked examples or Exercises
Dimensions
Height: 244 mm
Width: 170 mm
Thickness: 18 mm
Weight
562 gr
ISBN-13
978-0-521-08831-2 (9780521088312)
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Schweitzer Classification
Other editions
Additional editions
Stanley Boorman
Studies in the Performance of Late Medieval Music
Book
06/1984
Cambridge University Press
€68.20
Article exhausted; check for reprint
Previous edition
Stanley Boorman
Studies in the Performance of Late Medieval Music
Book
06/1984
Cambridge University Press
€68.20
Article exhausted; check for reprint
Content
1. Fifteenth-century northern book painting and the a cappella question: an essay in iconographic method James W. McKinnon; 2. The visualisation of music through pictorial imagery and notation in late mediaeval France Tilman Seebass; 3. The trecento harp Howard Mayer Brown; 4. The 'reconstruction' of instrumental music: the interpretation of the earliest practical sources Wulf Arlt; 5. Mimesis and woodwind articulation in the fourteenth century Margaret Paine Hasselman and David McGown; 6. Specific information on the ensembles for composed polyphony, 1400-1474 David Fallows; 7. The performing ensemble for English church polyphony, c. 1320-c. 1390 Roger Bowers; 8. Some evidence for French influence in northern Italy, c. 1400 Anne Hallmark; 9. Parts with words and without words: the evidence for multiple texts in fifteenth-century Masses Alejandro Enrique Planchart; 10. Fourteenth-century music with texts revealing performance practice Ursula Gunther.