Composing Community in Late Medieval Music
Self-Reference, Pedagogy, and Practice
Published on 2. May 2019
Book
Hardback
298 pages
978-1-108-47491-7 (ISBN)
Description
When we sing lines in which a fifteenth-century musician uses ethereal polyphony to complain mundanely about money or hoarseness, more than half a millennium melts away. Equally intriguing are moments in which we experience solmization puns. These familiar worries and surprising jests break down temporal distances, humanizing the lives and endeavors of our musical forebears. Yet many instances of self-reference occur within otherwise serious pieces. Are these simply in-jokes, or are there more meaningful messages we risk neglecting if we dismiss them as comic relief? Music historian Jane D. Hatter takes seriously the pervasiveness of these features. Divided into two sections, this study considers pieces with self-referential features in the texts separately from discussions of pieces based on musical self-referential elements. Examining connections between self-referential repertoire from the years 1450-1530 and similar self-referential creations for painters' guilds, reveals musicians' agency in forming the first communities of early modern composers.
Reviews / Votes
'This is a wonderful book with a clear and convincing central claim. Jane D. Hatter's engagement with primary sources and recent scholarly literature on music, art, and cultural history displays highly original thought and will give scholars a fresh perspective on what they thought they knew.' David J. Rothenberg, Case Western Reserve University, Ohio 'Composing Community in Late Medieval Music is the first book-length study to explore a pivotal paradigm shift in European music history - the decades around 1500 when composers became self-conscious professionals both individually and as a group. Jane D. Hatter explores the ways in which this self-consciousness began to express itself in individual works. Her fascinating study deftly disentangles the various musical, social and cultural strands in this complex process and provides essential reading for every student of the musical Renaissance.' Wolfgang Fuhrmann, Universitaet Leipzig '... the book is stimulating and profitable to read because it brings together many well-known aspects in an interesting way and enriches them with detailed observations.' Nicole Schwindt, Die MusikforschungMore details
Series
Language
English
Place of publication
Cambridge
United Kingdom
Target group
Professional and scholarly
Product notice
sewn/stitched
Cloth over boards
Illustrations
Worked examples or Exercises; 18 Printed music items; 51 Tables, unspecified; 16 Halftones, unspecified
Dimensions
Height: 254 mm
Width: 179 mm
Thickness: 22 mm
Weight
763 gr
ISBN-13
978-1-108-47491-7 (9781108474917)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Book
08/2021
Cambridge University Press
€49.20
Shipment within 15-20 days
E-Book
05/2019
Cambridge University Press
€37.99
Available for download
E-Book
05/2019
Cambridge University Press
€21.99
Available for download
Person
Jane D. Hatter is an assistant professor of musicology at the University of Utah. Her research delves into the musical communities that developed around fifteenth- and sixteenth-century music, including musical self-reference and intersections between music and the visual arts. Her examination of musical time and sexuality in early sixteenth-century Italian paintings is one of the five most read articles in the Oxford journal Early Music.
Content
Introduction; Part I. Music about Musicians: 1. Paintings about painters to music about musicians; 2. Miserere Supplicanti Du Fay: building community through musical devotions at Cambrai Cathedral; 3. Ora Pro Nobis: forms of self-reference in musical prayers for musicians; 4. Plorer, Gemir, Crier: musical mourning and the composer; Part II. Music about Music: 5. Paintings about painting and music about music-making; 6. Simple lessons? Music theory as emblem of composition; 7. Constructing the composer: symbolic use of the hexachord in compositions c.1500; 8. Conclusion.