Book contents
- Cambridge Introductions to Music
- Medieval Polyphony and Song
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Boxes
- Music Examples
- Acknowledgements
- Chapter 1 Introduction and Historical Outline
- Chapter 2 Monastic Centres in the Early Middle Ages
- Chapter 3 Court and Cloister in Aquitaine and Occitania
- Chapter 4 Paris: City, Cathedral, and University
- Chapter 5 Courts and Cities in Northern France
- Chapter 6 Scribes, Scholars, and Secretaries in Fourteenth-Century France
- Chapter 7 England after the Norman Conquest
- Chapter 8 On the Shores of the Mediterranean: Italy, Sicily, and the Iberian Peninsula
- Chapter 9 The German- and Dutch-Speaking Lands
- Chapter 10 Medievalisms: Modern Encounters with Medieval Polyphony and Song
- Glossary
- Bibliography
- Discography
- Index
- Cambridge Introductions to Music
- References
Bibliography
Published online by Cambridge University Press: 27 April 2023
Book contents
- Cambridge Introductions to Music
- Medieval Polyphony and Song
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Boxes
- Music Examples
- Acknowledgements
- Chapter 1 Introduction and Historical Outline
- Chapter 2 Monastic Centres in the Early Middle Ages
- Chapter 3 Court and Cloister in Aquitaine and Occitania
- Chapter 4 Paris: City, Cathedral, and University
- Chapter 5 Courts and Cities in Northern France
- Chapter 6 Scribes, Scholars, and Secretaries in Fourteenth-Century France
- Chapter 7 England after the Norman Conquest
- Chapter 8 On the Shores of the Mediterranean: Italy, Sicily, and the Iberian Peninsula
- Chapter 9 The German- and Dutch-Speaking Lands
- Chapter 10 Medievalisms: Modern Encounters with Medieval Polyphony and Song
- Glossary
- Bibliography
- Discography
- Index
- Cambridge Introductions to Music
- References
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.
- Type
- Chapter
- Information
- Medieval Polyphony and Song , pp. 231 - 234Publisher: Cambridge University PressPrint publication year: 2023
References
Primary Sources
Aubrey, Elizabeth, ‘Vernacular Song I: Lyric’, in The Cambridge History of Medieval Music, volume 1, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 382–427.CrossRefGoogle Scholar
Bent, Margaret, Hartt, Jared C., and Lefferts, Peter M., The Dorset Rotulus: Contextualizing and Reconstructing the Early English Motet (Woodbridge, 2021).Google Scholar
Bent, Margaret, and Wathey, Andrew (eds), Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque nationale de France, MS français 146 (Oxford, 1998).Google Scholar
Bobeth, Gundela, trans. Henry Hope, ‘Wine, Women, and Song? Reconsidering the Carmina Burana’, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Deeming, Helen and Leach, Elizabeth Eva (Cambridge, 2015), 79–115.CrossRefGoogle Scholar
Bradley, Catherine A., Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge, 2018).CrossRefGoogle Scholar
Breen, Edward, ‘Travel in Space, Travel in Time: Michael Morrow’s Approach to Performing Medieval Music in the 1960s’, in Studies in Medievalism, XXV: Medievalism and Modernity, ed. Fugelso, Karl, Davies, Joshua, and Salih, Sarah (Woodbridge, 2016), 89–115.Google Scholar
Breen, Edward ‘The History of Medieval English Music on Record’, Early Music, 45 (2017), 135–42.CrossRefGoogle Scholar
Butterfield, Ardis, Poetry and Music in Medieval France: From Jean Renart to Guillaume de Machaut (Cambridge, 2002).Google Scholar
Caldwell, John, The Oxford History of English Music, volume 1, From the Beginnings to c.1715 (Oxford, 1991).CrossRefGoogle Scholar
Ciglbauer, Jan, ‘Quoting, Rethinking and Copying: A Few Remarks on the Tradition of the Monophonic Cantio in Central Europe’, Hudební věda, 51, 1–2 (2014), 21–32.Google Scholar
Cook, James, Kolassa, Alexander, and Whittaker, Adam (eds), Recomposing the Past: Representations of Early Music on Stage and Screen (Abingdon, 2018).Google Scholar
Curry, Robert, ‘Music East of the Rhine’, in The Cambridge Companion to Medieval Music, ed. Everist, Mark (Cambridge, 2011), 171–82.Google Scholar
Cuthbert, Michael Scott, ‘Trecento I: Secular Music’, in The Cambridge History of Medieval Music, volume 2, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 1079–99.Google Scholar
Deeming, Helen (ed.), Songs in British Sources, c.1150–1300, Musica Britannica 95 (London, 2013).Google Scholar
Deeming, Helen ‘An English Monastic Miscellany: the Reading Manuscript of Sumer is icumen in’, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Deeming, Helen and Leach, Elizabeth Eva (Cambridge, 2015), 116–40.CrossRefGoogle Scholar
Deeming, Helen ‘Latin Song I: Songs and Songbooks from the Ninth to the Thirteenth Century’, in The Cambridge History of Medieval Music, volume 2, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 1020–47.Google Scholar
Deeming, Helen ‘Politics: Courts, Conquests, and Crusades’, in A Cultural History of Western Music in the Middle Ages, ed. Deeming, Helen and Leach, Elizabeth Eva (London, in press).Google Scholar
Everist, Mark, Discovering Medieval Song: Latin Poetry and Music in the Conductus (Cambridge, 2018).CrossRefGoogle Scholar
Fallows, David, Henry V and the Earliest English Carols, 1413–1440 (Abingdon, 2018).CrossRefGoogle Scholar
Fassler, Margot E., Gothic Song: Victorine Sequences and Augustinian Reform in Twelfth-Century Paris, second edition (Notre Dame, IN, 2011).Google Scholar
Fuller, Sarah, ‘Early Polyphony to c.1200’ in The Cambridge Companion to Medieval Music, ed. Everist, Mark (Cambridge, 2011), 46–66.CrossRefGoogle Scholar
Gancarczyk, Paweł, ‘Petrus Wilhelmi de Grudencz (b. 1392) – A Central European Composer’, De musica disserenda, 2, 1 (2006), 103–12.Google Scholar
Golden, Rachel May, ‘Across Divides: Aquitaine’s New Song and London, British Library, Additional 36881’, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Deeming, Helen and Leach, Elizabeth Eva (Cambridge, 2015), 58–78.CrossRefGoogle Scholar
Golden, Rachel May, Mapping Medieval Identities in Occitanian Crusade Song (New York, 2020).Google Scholar
Grier, James, ‘Early Polyphony’ in The Cambridge History of Medieval Music, volume 2, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 801–33.Google Scholar
Gross, Guillaume, ‘Organum at Notre-Dame in the Twelfth and Thirteenth Centuries: Rhetoric in Words and Music’, Plainsong & Medieval Music, 15 (2006), 87–108.Google Scholar
Haines, John ‘The Transformations of the Manuscrit du Roi’, Musica Disciplina, 52 (1998–2002), 5–43.Google Scholar
Hascher-Burger, Ulrike, and Joldersma, Hermina, ‘Music in the Spiritual Culture of the Devotio Moderna’, Church History and Religious Culture, 88, 3 (2008), 313–28.Google Scholar
Huot, Sylvia, Allegorical Play in the Old French Motet: The Sacred and the Profane in Thirteenth-Century Polyphony (Stanford, CA, 1997).Google Scholar
Kapitaikin, Lev, ‘David’s Dancers in Palermo: Islamic Dance Imagery and its Christian Recontextualization in the Ceilings of the Cappella Palatina’, Early Music, 47 (2019), 3–23.Google Scholar
Leach, Elizabeth Eva, ‘The Fourteenth Century’, in The Cambridge Companion to Medieval Music, ed. Everist, Mark (Cambridge, 2011), 87–103.CrossRefGoogle Scholar
Leach, Elizabeth Eva Guillaume de Machaut: Secretary, Poet, Musician (Ithaca, NY, 2011).Google Scholar
Leech-Wilkinson, Daniel, The Modern Invention of Medieval Music: Scholarship, Ideology, Performance (Cambridge, 2002).Google Scholar
Llewellyn, Jeremy, ‘Nova Cantica’ in The Cambridge History of Medieval Music, volume 1, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 147–75.Google Scholar
Louviot, Manon, Controlling Space, Disciplining Voice: The Congregation of Windesheim and Fifteenth-Century Monastic Reform in Northern Germany and the Low Countries, PhD dissertation (Utrecht, 2019).Google Scholar
Maloy, Rebecca, ‘Exchange: Liturgical Reform, Pilgrimage, and Saints’ Cults’, in A Cultural History of Western Music in the Middle Ages, ed. Deeming, Helen and Leach, Elizabeth Eva (London, in press).Google Scholar
Page, Christopher, The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300 (London, 1989).Google Scholar
Payne, Thomas B., ‘Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor’, Speculum, 75 (2000), 589–614.CrossRefGoogle Scholar
Potter, John, ‘Issues in the Modern Performance of Medieval Music’, in The Cambridge History of Medieval Music, volume 1, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 609–26.Google Scholar
Rankin, Susan (ed.), The Winchester Troper: Facsimile Edition and Introduction, Early English Church Music 53 (London, 2007).Google Scholar
Roesner, Edward H., ‘Notre Dame’, in The Cambridge History of Medieval Music, volume 2, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 834–80.Google Scholar
Rosenberg, Samuel, Switten, Margaret and Le Vot, G., Songs of the Troubadours and Trouvères: An Anthology of Poems and Melodies (New York and London, 1998).Google Scholar
Shiloah, Amnon, ‘Muslim and Jewish Musical Traditions of the Middle Ages’, in Music as Concept and Practice in the Late Middle Ages, ed. Reinhard Strohm and Bonnie J. Blackburn (Oxford, 2001), 1–30.Google Scholar
Stevens, John, The Later Cambridge Songs: An English Song Collection of the Twelfth Century (Oxford, 2005).Google Scholar
Stevens, John Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050–1350 (Cambridge, 1986).Google Scholar
Stone, Anne, ‘Ars Subtilior’, in The Cambridge History of Medieval Music, volume 2, ed. Everist, Mark and Kelly, Thomas Forrest (Cambridge, 2018), 1125–46.Google Scholar
Werf, Hendrik van der, and Bond, G. A. (eds), The Extant Troubadour Melodies: Transcriptions and Essays for Performers and Scholars (Rochester, NY, 1984).Google Scholar
Yri, Kirsten, and Meyer, Stephen C. (eds), The Oxford Handbook of Music and Medievalism (Oxford, 2020).Google Scholar
Zayaruznaya, Anna, ‘Performance: On Absent Sounds, Notes, and Words’, in A Cultural History of Western Music in the Middle Ages, ed. Deeming, Helen and Leach, Elizabeth Eva (London, in press).Google Scholar
Ziolkowski, Jan M. (ed. and trans.), The Cambridge Songs (Carmina Cantabrigiensia) (New York and London, 1994).Google Scholar
Secondary Sources
On the tenth-century organum discovered in the British Library, see https://bit.ly/3L55uG1 and (with a recording of Sancte Bonifati) https://bit.ly/3Rxk5vd.Google Scholar
On the process of recovering early medieval songs from neumatic notation, and experimenting with performers to create convincing sung versions, see Restoring Lost Songs: Boethius’ Consolation of Philosophy, https://boethius.mus.cam.ac.uk/.Google Scholar
Online video animation of Tout par compas: Jordan Alexander Key, ‘Baude Cordier: Circle Canon, Tout par compas (Manuscript Animation)’, www.youtube.com/watch?v=iaeOWdXM4Pg.Google Scholar
Film animating the life of the trobairitz Comtessa de Dià: www.thetelling.co.uk/unsung-heroine.Google Scholar