Music from the Earliest Notations to the Sixteenth Century
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Contents
Music from the Earliest Notations to the Sixteenth Century- Contents
- Introduction: The History of What?
- Chapter 1 The Curtain Goes Up
- Literacy
- The Romans and the Franks
- The Carolingian Renaissance
- The Chant Comes North
- The Legend of St. Gregory
- The Origins of Gregorian Chant
- Monastic Psalmody
- The Development of the Liturgy
- The Mass and its Music
- Neumes
- Persistence of Oral Tradition
- Psalmody in Practice: The Office
- Psalmody in Practice: The Mass
- Evidence of “Oral Composition”
- Why we will Never know How it all Began
- Beginnings, as Far as we know Them
- Chapter 2 New Styles and Forms
- Chapter 3 Retheorizing Music
- Chapter 4 Music of Feudalism and Fin’s Amors
- Chapter 5 Polyphony in Practice and Theory
- Chapter 6 Notre Dame de Paris
- Chapter 7 Music for an Intellectual and Political Elite
- Chapter 8 Business Math, Politics, and Paradise: The Ars Nova
- A “New Art of Music”?
- Music from Mathematics
- Putting it into Practice
- Representing it
- Backlash
- Establishing the Prototype: The Roman De Fauvel
- Taking a Closer Look
- More Elaborate Patterning
- Isorhythm
- Music about Music
- Machaut: The Occult and the Sensuous
- Musica Ficta
- Cadences
- Ciconia: The Motet as Political Show
- Du Fay: The Motet as Mystical Summa
- A Final Word From Dante
- Chapter 9 Machaut and His Progeny
- Maintaining the Art of Courtly Song
- Redefining (and Re-Refining) a Genre
- The Top-Down Style
- Cantilena
- Functionally Differentiated Counterpoint
- The Luxuriant Style
- What Instrumentalists Did
- Machaut’s Mass and its Background
- Avignon
- Votive Formularies
- Ci Commence la Messe de Nostre Dame
- Kyrie
- Gloria
- Dismissal
- Subtilitas
- Canon
- ARS Subtilior
- Berry and Foix
- Outposts
- Faux-Naïveté
- Chapter 10 “A Pleasant Place”: Music of the Trecento
- Chapter 11 Island and Mainland
- The First Masterpiece?
- Viking Harmony
- Insular Fauna?
- Pes Motets and Rondellus
- The Worcester Fragments
- Nationalism?
- “English Descant”
- The Beginnings of “Functional” Harmony?
- Old Hall and Roy Henry
- Fortunes of War
- Dunstable and the “Contenance Angloise”
- Voluptuousness and How to Acquire it
- Fauxbourdon and Faburden
- Du Fay and Binchois
- Chapter 12 Emblems and Dynasties
- The Internationalism of the Upper Crust
- The “Tinctoris Generation”
- The Cyclic Mass
- Cantus Firmus as Trope of Glory
- “Caput” and the Beginnings of Four-Part Harmony
- How Controversies Arise (and What They Reveal)
- Patterns of Emulation
- The Composer as Virtuoso
- Farther Along the Emulation Chain
- The Man at Arms
- “Pervading Imitation”
- An Esthetic Paradox (or, the Paradox of “Esthetics”)
- Old and Young Alike Pay Tribute
- Chapter 13 Middle and Low
- Chapter 14 Josquin and the Humanists
- Chapter 15 A Perfected Art
- Chapter 16 The End of Perfection
- Utopia
- Palestrina and the Ecumenical Tradition
- Besting the Flemings; or, the Last of the Tenoristas
- Parody Pairs
- Palestrina and the Bishops
- Freedom and Constraint
- Cryogenics
- Byrd
- Church and State
- The First English Cosmopolite
- The Music of Defiance
- Musical Hermeneutics
- The Peak (and Limit) of Stylistic Refinement
- Chapter 17 Commercial and Literary Music
- Music Printers and their Audience
- Vernacular Song Genres: Italy
- Germany: The Tenorlied
- The “Parisian” Chanson
- Music as Description
- Lasso: The Cosmopolite Supreme
- The Literary Revolution and the Return of the Madrigal
- “Madrigalism” in Practice
- Paradox and Contradiction
- Exterior “Nature” and Interior “Affect”
- Postscript: The English Madrigal
- Chapter 18 Reformations and Counter Reformations
- Chapter 19 Pressure of Radical Humanism
- Art Credits
- Further Reading: A Checklist of Books in English
