Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cc8bf7c57-5wl6q Total loading time: 0 Render date: 2024-12-11T22:12:24.307Z Has data issue: false hasContentIssue false

5 - Nova Cantica

from Volume I

Published online by Cambridge University Press:  04 August 2018

By
Jeremy Llewellyn
Edited by
Mark Everist  and
Thomas Forrest Kelly
Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cambridge History of Medieval Music , pp. 147 - 175
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arlt, Wulf. “Das eine Lied und die vielen Lieder. Zur historischen Stellung der neuen Liedkunst des frühen 12. Jahrhunderts,” in Festschrift Rudolf Bockholdt zum 60. Geburtstag, ed. Dubowy, Norbert and Meyer-Eller., Sören Pfaffenhofen: Ludwig, 1990, 113–27.Google Scholar
Arlt, Wulf. Ein Festoffizium des Mittelalters aus Beauvais in seiner liturgischen und musikalischen Bedeutung. Köln: Volk, 1970.Google Scholar
Arlt, Wulf. “Neues zum Neuen Lied: Die Fragmente aus der Handschrift Douai 264,” in Sine musica, nulla disciplina. Studi in onore di Giulio Cattin, ed. Bernabei, Franco and Lovato, Antonio. Padova: Il Poligrafo, 2006, 89–110.Google Scholar
Arlt, Wulf. “Nova cantica. Grundsätzliches und Spezielles zur Interpretation musikalischer Texte des Mittelalters,” in Basler Jahrbuch für historische Musikpraxis 10 (1986), 13–62.Google Scholar
Arlt, Wulf. “Peripherie und Zentrum. Vier Studien zur ein- und mehrstimmigen Musik des hohen Mittelalters i,” in Forum Musicologicum i (Bern: Amadeus, 1975), 169–222.Google Scholar
Arlt, Wulf. “Sequence and ‘Neues Lied,’” in La sequenza medievale: Atti del Convegno internazionale Milano 7–8 aprile 1984, ed. Ziino, Agostino. Lucca: Libreria Musicale Italiana, 1992, 3–18.Google Scholar
Arlt, Wulf. “Zur Intepretation zweier Lieder: ‘A madre de deus’ und ‘Reis glorios,’” Basler Jahrbuch für historische Musikpraxis 1 (1977), 117–30.Google Scholar
Arlt, Wulf et al. “Symposium ‘Peripherie’ und ‘Zentrum’ in der Geschichte ein- mehrstimmigen Musik des 12. bis 14. Jahrhunderts,” in Bericht über den Internationalen musikwissenschaftlichen Kongress Berlin 1974, ed. Kühn, Hellmut and Nitsche, Peter. Bärenreiter: Kassel, 1980, 15–170.Google Scholar
Colette, Marie-Noël. “Jerusalem mirabilis, la datation du manuscrit Paris BnF latin 1139,” in Saint-Martial de Limoges: Ambition politique et production culturelle, Xe–XIIIe siècles: Actes du colloque tenu à Poitiers et Limoges du 26 au 28 mai 2005 Centre d’études supérieures de civilisation médiévale, CESCM, ed. Andrault-Schmitt, Claude. Limoges: Pulim, 2006, 469–81.Google Scholar
Colette, Marie-Noël. “La notation du demi-ton dans le manuscript Paris, B.N. Lat. 1129 et dans quelques manuscrits du Sud de la France,” in La tradizione dei tropi liurgici. Spoleto: Centro Italiano di Studi Sull’Alto Medioevo, 1990, 297–311.Google Scholar
Everist, Mark. “Tails of the Unexpected: The ‘Punctus organi’ and the ‘Conductus cum caudis,’” in Musik des Mittelalters und der Renaissance: Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, ed. Kleinertz, Rainer. Hildesheim: Olms, 2010, 161–95.Google Scholar
Fuller, Sarah Ann. “Aquitanian Polyphony of the Eleventh and Twelfth Centuries.” Ph.D. dissertation, University of California, Berkeley, 1969.Google Scholar
Fuller, Sarah Ann. “Early Polyphony to circa 1200,” in The Cambridge Companion to Medieval Music, ed. Everist, Mark. Cambridge University Press, 2011, 46–66.Google Scholar
Fuller, Sarah Ann. “Hidden Polyphony: A Reappraisal,” Journal of the American Musicological Society 24/2 (1971), 169–92.Google Scholar
Golden Carlson, Rachel. “Striking Ornaments: Complexities of Sense and Song in Aquitanian Versus,” Music & Letters 84/4 (2003), 527–56.Google Scholar
Golden Carlson, Rachel. “Two Paths to Daniel’s Mountain: Poetic-Musical Unity in Aquitanian Versus,” Journal of Musicology 23/4 (2006), 620–46.Google Scholar
Grier, James. “A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine,” Speculum 69/4 (1994), 1023–69.Google Scholar
Grier, James. “Transmission in the Aquitanian Versaria of the Eleventh and Twelfth Centuries.” Ph.D. dissertation, University of Toronto, 1985.Google Scholar
Haines, John. Medieval Song in Romance Languages. Cambridge University Press, 2010.Google Scholar
Haug, Andreas. “Kennen wir die Melodie zu einem Lied des ersten Trobador? Ein Versuch in wissenschaftlichem Wunschdenken,” in Projektion, Reflexion, Ferne: Räumliche Vorstellungen und Denkfiguren im Mittelalter, ed. Glauch, Sonja, Köbele, Susanne, and Störmer-Caysa, Uta. Berlin: De Gruyter, 2011, 369–89.Google Scholar
Haug, Andreas. “Musikalische Lyrik im Mittelalter,” in Musikalische Lyrik: Handbuch der musikalischen Gattungen, Bd. 8, ed. Danuser, Hermann. Laaber: Laaber Verlag, 2004, 59–129, esp. “Altes Lied–Neues Lied,” 97–125.Google Scholar
Hiley, David. “The Liturgical Music of Norman Sicily: A Study Centred on Manuscripts 288, 289, 19421 and Vitrina 20–4 of the Biblioteca Nacional, Madrid.” Ph.D. dissertation, University of London King’s College, 1981.Google Scholar
Hiley, David. Das Repertoire der normanno-sizilischen Tropare. i: Die Sequenzen. Monumenta Monodica Medii Aevi Bd. xiii. Kassel: Bärenreiter, 2001.Google Scholar
Hill, John Hugh and Hill, Laurita Lyttleton. Le “Liber” De Raymond d’Aguilers, Documents relatifs à l’histoire des croisades 9. Paris: P. Geuthner, 1969.Google Scholar
Iversen, Gunilla. “Psallite regi nostro, psallite: Singing ‘Alleluia’ in Ninth-Century Poetry,” in Sapientia et Eloquentia: Meaning and Function in Liturgical Poetry, Music, Drama, and Biblical Commentary in the Middle Ages, ed. Bell, Nicolas and Iversen, Gunilla, Disputatio 11. Turnhout: Brepols, 2009, 9–58.Google Scholar
Karp, Theodore. The Polyphony of Saint Martial and Santiago de Compostela, 2 vols. (Oxford: Clarendon Press, 1992).Google Scholar
Llewellyn, Jeremy. “The Careful Cantor and the Carmina Cantabrigiensia,” in Manuscript and Medieval Song: Inscription, Performance, Context, ed. Deeming, Helen and Leach, Elizabeth Eva. Cambridge University Press, 2015, 35–57.CrossRefGoogle Scholar
Spanke, Hans. Beziehungen zwischen romanischer und mittellateinischer Lyrik, Abhandlung der Gesellschaft der Wissenschaften zu Göttingen, philologisch-historische Klasse, dritte Folge, 18. Berlin: Weidmannsche Buchhandlung, 1936.Google Scholar
Stevens, John. Words and Music in the Middle Ages: Song, Narrative, Dance, and Drama, 1050–1350, Cambridge Studies in Music. Cambridge University Press, 1986.Google Scholar
Switten, Margaret Louise. “Versus and Troubadours around 1100: A Comparative Study of Refrain Technique in the ‘New Song,’” Plainsong and Medieval Music 16/2 (2007), 91–143.CrossRefGoogle Scholar
Treitler, Leo. “The Aquitanian Repertoires of Sacred Monody in the Eleventh and Twelfth Centuries.” Ph.D. dissertation, Princeton University, 1967.Google Scholar
Van der Werf, Hendrik. The Oldest Extant Part Music and the Origin of Western Polyphony, 2 vols. Rochester, NY: Van der Werf, 1993.Google Scholar
Wälli, Silvia. “Musikalische Analyse und ‘natürliche Erkenntnis’: Ein Beitrag zum Verständis von Alto consilio,” in Musik jenseits der Grenze der Sprache, ed. Berger, Christian. Freiburg-im-Breisgau: Rombach, 2004, 95–111.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×