Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-jkksz Total loading time: 0 Render date: 2024-12-25T05:53:06.847Z Has data issue: false hasContentIssue false

15 - Teaching and Learning Music

from Volume I

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
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

Primary Sources

de Lyon, Agobard. Agobardi Lugdunensis Opera omnia, ed. van Acker, L., in Corpus Christianorum, Continuatio Medievalis 52. Turnhout: Brepols, 1981.Google Scholar
Aristotle, . On Memory, trans. Sorabji, R.. Providence, RI: Brown University Press, 1972.Google Scholar
Berno of Reichenau. “Bern Augiensis tonarius,” in Die Musiktraktate des Abtes Bern von Reichenau, Edition und Interpretation, ed. Rausch, A.. Tutzing: H. Schneider, 1999.Google Scholar
Burchard, U. Commentum super tonos, ed. Smits van Waesberghe, J., Divitiae musicae artis collectae, Ser. A, Liber A. Buren: Frits Knuf, 1975.Google Scholar
Burchard, B. Hortulus Musices. Leipzig: Melchior Lotter, 1514.Google Scholar
Della Porta, G. B. L’arte del ricordare. Naples: Marco Antonio Passaro, 1566.Google Scholar
Frutolfus, . Breviarium de musica et tonarius, ed. Cölestin Vivell, P., in Akademie der Wissenschaften in Wien, Philosophisch-historische Klasse, Sitzungsberichte 188, 2. Vienna, Alfred Hölder, 1919, 26113.Google Scholar
Guido of Arezzo. “Epistle Concerning an Unknown Chant,” trans. Strunk, Oliver, rev. McKinnon, James, in SR, 217.Google Scholar
,. Guido Aretini Micrologus, ed. Smits van Waesberghe, J., CSM 4. Rome: American Institute of Musicology, 1955, 117–19.Google Scholar
Guido of Arezzo. Guido D’Arezzo’s Regule rithmice, Prologus in antiphonarium, and Epistola ad Michahelem: A Critical Text and Translation with an Introduction, Annotations, Indices, and New Manuscript Inventories, ed. Pesce, D.. Ottawa: Institute of Mediaeval Music, 1999.Google Scholar
Libellus tonarius, in Quellen zur Transformation der Antiphonen: Tonar- und Rhythmusstudien, ed. Sowa, H.. Kassel, Bärenreiter, 1935.Google Scholar
Odo of Arezzo. Tonarius, GS, i: 248–50.Google Scholar
Petrarch, . Rerum memorandum libri, ed. Billanovich, G.. Florence: Snasoni, 1945.Google Scholar
Quintilian, . Institutio oratoria, trans. and ed. Butler, H. E., Loeb Classical Library. Cambridge, MA: Harvard University Press, 1968.Google Scholar
Regino, . “Epistola de harmonica institutione,” ed. Bernhard, M., in Clavis Gerberti, eine Revision von Martin Gerberts Scriptores ecclesiastici de musica sacra potissimum (St. Blasien 1784). Munich: Bayerische Akademie der Wissenschaften, 1989.Google Scholar
Spechtshart von Reutlingen, H. Flores musicae, ed. Gümpel, K. W., Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1958. Wiesbaden: Akademie der Wissenschaften; Steiner, 1958, 51177.Google Scholar
Tinctoris, J. Expositio manus, in Opera theoretica vol. i, ed. Seay, A., CSM 22. Rome: American Institute of Musicology, 1975, 3157.Google Scholar
Tinctoris, J.The Vatican Organum Treatise: A Colour Reproduction, Transcription, and Translation,” ed. Godt, I. and Rivera, B., in Gordon Athol Anderson, in Memoriam, vol. ii. Henryville, PA: Institute of Mediaeval Music, 1984, 264345.Google Scholar
Wollick, N. Enchiridion Musices. Paris: Jehan Petit and François Regnault, 1512.Google Scholar

Secondary Sources

Atkinson, C. M. The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford University Press, 2009.Google Scholar
Atkinson, C. M. “Modus,” in Handwörterbuch der musikalischen Terminologie, 1995.Google Scholar
Atkinson, C. M.The Other Modus: On the Theory and Practice of the Intervals in the Eleventh and Twelfth Centuries,” in The Study of Medieval Chant: Paths and Bridges, East and West, ed. Jeffery, P.. Woodbridge: Boydell Press, 2001, 233–56.Google Scholar
Bailey, T. The Intonation Formulas of Western Chant. Toronto: Pontifical Institute of Mediaeval Studies, 1974.Google Scholar
Bailey, T. ed. and trans. Commemoratio brevis de tonis et psalmis modulandis, Anon. Ottawa: University of Ottawa Press, 1979.Google Scholar
Berger, K.The Guidonian Hand,” in The Medieval Craft of Memory: An Anthology of Texts and Pictures, ed. Carruthers, M. and Ziolkowski, J.. Philadelphia: University of Pennsylvania Press, 2002, 7182.Google Scholar
Berger, K.The Hand and the Art of Memory,” Musica Disciplina 35 (1981), 85120.Google Scholar
Bernhard, M.Das musikalische Fachschrifttum im lateinischen Mittelalter,” in Geschichte der Musiktheorie 3, ed. Zaminer, F.. Darmstadt: Wissenschaftliche Buchgesellschaft, 1990, 37103.Google Scholar
Boncella, P. A. L.Regino Prumiensis and the Tones,” in Songs of the Dove and the Nightingale, Sacred and Secular Music c. 900–1600, ed. Hair, Greta Mary and Smith, Robyn E.. Sydney: Currency Press, 1994, 7489.Google Scholar
Busse Berger, A. M. Medieval Music and the Art of Memory. Berkeley: University of California Press, 2005.Google Scholar
Canguilhem, P.Main mémorielle et invention musicale à la Renaissance,” in Memory and Invention: Medieval and Renaissance Literature, Art and Music, ed. Busse Berger, A. M. and Rossi, M.. Florence: Olschki, 2009, 8198.Google Scholar
Carruthers, M. The Book of Memory: A Study in Medieval Culture. Cambridge University Press, 1990.Google Scholar
Carruthers, M. The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400–1200. Cambridge University Press, 1998.Google Scholar
Coleman, J. Ancient and Medieval Memories: Studies in the Reconstruction of the Past. Cambridge University Press, 1992.Google Scholar
Crocker, R.Hermann’s Major Sixth,” Journal of the American Musicological Society 25 (1972), 1937.Google Scholar
Egmond, W. van. “The Commercial Revolution and the Beginnings of Western Mathematics in Renaissance Florence, 1300–1500.” Ph.D. dissertation, Indiana University, 1976.Google Scholar
Falconer, K.The Modes before the Modes: Antiphon and Differentia in Western Chant,” in The Study of Medieval Chant: Paths and Bridges, East and West, ed. Jeffery, P.. Woodbridge: Boydell Press, 2001, 131–45.Google Scholar
Gallo, F. A.La tradizione orale della teoria musicale nel medioevo,” in L’etnomusicologia in Italia, ed. Carpitella, D.. Palermo: S. F. Flaccovio, 1975, 161–66.Google Scholar
Goody, J. The Interface between the Written and the Oral. Cambridge University Press, 1987.Google Scholar
Goody, J. and Watt, I. P.. Literacy in Traditional Societies. Cambridge University Press, 1968.Google Scholar
Grendler, P. Schooling in Renaissance Italy: Literacy and Learning, 1300–1600. Baltimore, MA: Johns Hopkins University Press, 1989.Google Scholar
Hiley, D. Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.Google Scholar
Huglo, M.L’auteur du Dialogue sur la Musique attribué à Odon,” Revue de Musicologie 55 (1969), 119–71.Google Scholar
Huglo, M. Les livres de chant liturgique, Typologie des sources du Moyen Age occidental 5. Turnhout: Brepols, 1988.Google Scholar
Huglo, M. Les tonaires: Inventaire, analyse, comparaison. Paris: Heugel, 1971.Google Scholar
Huglo, M. “Tonary,” Grove Music Online.Google Scholar
Immel, S.The Vatican Organum Treatise Re-Examined,” Early Music History 20 (2001), 121–72.Google Scholar
Jeffery, P.The Earliest Oktoechoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering,” in The Study of Medieval Chant: Paths and Bridges, East and West. In Honor of Kenneth Levy, ed. Jeffery, P.. Woodbridge: Boydell, 2001, 147209.Google Scholar
Lipphardt, W. Der karolingische Tonar von Metz. Münster: Aschendorff, 1965.Google Scholar
Long, M.Singing Through the Looking Glass: Child’s Play and Learning in Medieval Italy,” Journal of the American Musicological Society 61 (2008), 253306.Google Scholar
Lorenzetti, S.‘Arboream inspicias figuram,’ Figure e luoghi di memoria nel pensiero e nella practica musicale tra Cinque e Seicento,” in Memory and Invention: Medieval and Renaissance Literature, Art and Music, ed. Busse Berger, A. M. and Rossi, M.. Florence: Olschki, 2009, 99150.Google Scholar
Mengozzi, S. The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth and History. Cambridge University Press, 2010.Google Scholar
Munk Olsen, B.Les classiques latins dans les florilèges médiévaux antérieurs au XIIIe siècle,” Revue d’histoire des textes 9 (1979), 47112; 10 (1980), 115–64.CrossRefGoogle Scholar
Page, C. The Christian West and Its Singers: The First Thousand Years. New Haven, CT; London: Yale University Press, 2010.Google Scholar
Reynolds, S. Medieval Reading: Grammar, Rhetoric, and the Classical Text. Cambridge University Press, 1996.Google Scholar
Riché, P. “Apprendre à lire et à écrire dans le haut Moyen Age,” Bulletin de la Société Nationale des Antiquaires de France (1978–79), 193203.Google Scholar
Riché, P. Education and Culture in the Barbarian West, Sixth through Eighth Centuries, trans. Contreni, J.. Columbia: University of South Carolina Press, 1976.Google Scholar
Rouse, R. Hunter and Ames Rouse, M.. “The Florilegium angelicum: Its Origin, Content, and Influence,” in Medieval Learning and Literature: Essays Presented to Richard William Hunt, ed. Alexander, J. J. G. and Gibson, M.T.. Oxford: Clarendon Press, 1976, 66114.Google Scholar
Rouse, R. Hunter and Ames Rouse, M.. “Statim invenire: Schools, Preachers, and New Attitudes to the Page,” in Renaissance and Renewal in the Twelfth Century, ed. Benson, R. L. and Constable, G.. Cambridge, MA: Harvard University Press, 1982, 201–25.Google Scholar
Sherman, C. Richter. Writing on Hands: Memory and Knowledge in Early Modern Europe. Dickinson College, Carlisle, PA: The Trout Gallery, 2000.Google Scholar
Smits van Waesberghe, J.Einige Regeln der lateinischen rhythmischen Prosa in mittelalterlichen Traktaten,” Musica scientiae collectanea, Festschrift Karl Gustav Fellerer zum siebzigsten Geburtstag, ed. Hüschen, H.. Cologne: Arno Volk Verlag, 1973, 577–89.Google Scholar
Smits van Waesberghe, J. Musikerziehung: Lehre und Theorie der Musik im Mittelalter, Musikgeschichte in Bildern iii, 3. Leipzig: Deutscher Verlag für Musik, 1969.Google Scholar
Smits van Waesberghe, J. School en muziek in de Middeleeuwen: De muziekdidactiek van de vroege Middeleeuwen. Amsterdam: Uitgeversmaatschappij Holland, 1949.Google Scholar
Sowa, H. Quellen zur Transformation der Antiphonen: Tonar- und Rhythmusstudien. Kassel: Bärenreiter, 1935.Google Scholar
Taylor, B.Medieval Proverb Collections: The West European Tradition,” Journal of the Warburg and Courtauld Institutes 55 (1992), 1935.Google Scholar
Yates, F. The Art of Memory. London: Routledge and Kegan Paul, 1966.Google Scholar
Ziolkowski, J. The Cambridge Songs, Carmina Cantabrigiensi. New York: Garland, 1994.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
×