Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-23T21:22:35.008Z Has data issue: false hasContentIssue false

Recent Trends in the Study of Music of the Fourteenth, Fifteenth, and Sixteenth Centuries

Published online by Cambridge University Press:  20 November 2018

Elizabeth Eva Leach
Affiliation:
University of Oxford [Leach]
David Fallows
Affiliation:
University of Manchester [Fallows]
Kate Van Orden
Affiliation:
Harvard University [Orden]

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Review Essay
Copyright
Copyright © Renaissance Society of America 2015

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

Albritton, Benjamin. “Translation and Parody: Responses to Machaut’s Lay de confort .” In Citation, Intertextuality and Memory in the Middle Ages and Renaissance. ed. Yolanda Plumley, Giuliano Di Bacco, and Stefano Jossa, 1–14. Exeter, 2011.Google Scholar
Albritton, Benjamin. “Moving Across Media: Machaut’s Lais and the Judgement Tradition.” In A Companion to Guillaume de Machaut. ed. Deborah McGrady and Jennifer Bain, 119–39. Leiden, 2012.Google Scholar
American Academy of Arts and Sciences. The Heart of the Matter. 2013. http://humanitiescommission.org/_pdf/HSS_Report.pdf.Google Scholar
Apel, Willi, ed. French Secular Compositions of the Fourteenth Century. 3 vols. Rome, 1970–72.Google Scholar
Armstrong, Adrian, and Sarah Kay, eds. Knowing Poetry: Verse in Medieval France from the “Rose” to the “Rhétoriqueurs.” Ithaca, 2011.CrossRefGoogle Scholar
Bain, Jennifer. “Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of Machaut.” Plainsong and Medieval Music 14.2 (2005): 5988.10.1017/S0961137104000117CrossRefGoogle Scholar
Baker, Geoffrey. Imposing Harmony: Music and Society in Colonial Cuzco. Durham, 2008.10.1215/9780822388753CrossRefGoogle Scholar
Bent, Margaret. “What is Isorhythm?” In Quomodo cantabimus canticum? — Studies in Honor of Edward H. Roesner. ed. David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Nádas, 121–43. Middleton, 2008.Google Scholar
Bent, Margaret, and Andrew Wathey, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146. Oxford, 1998.Google Scholar
Bloechl, Olivia A. Native American Song at the Frontiers of Early Modern Music. Cambridge, 2008.Google Scholar
Boynton, Susan, and Eric Rice, eds. Young Choristers, 650–1700. Woodbridge, UK, 2008.Google Scholar
Brown, Howard Mayer. “Madrigals and Motets.” The Times Literary Supplement (20 July 1973): 834–35.Google Scholar
Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley, 2005.CrossRefGoogle Scholar
Butterfield, Ardis. “The Musical Contexts of Le Tournoi de Chauvency in Oxford, Bodleian MS Douce 308.” In Lettres, musique et société en Lorraine médiévale: Autour du Tournoi de Chauvency. ed. Mireille Chazan and Nancy Freeman Regalado, 399–422. Geneva, 2012.Google Scholar
Canguilhem, Philippe. “Singing upon the Book According to Vicente Lusitano.” Early Music History 30 (2011): 55103.10.1017/S0261127911000052CrossRefGoogle Scholar
Canguilhem, Philippe, ed. Chanter sur le livre à la Renaissance: Une édition et traduction des traités de contrepoint de Vicente Lusitano. Turnhout, 2013.Google Scholar
Catalunya, David. Conference papers presented. http://www.davidcatalunya.com/research/conference-papers/.Google Scholar
Colton, Lisa. “Languishing for Provenance: Zelo tui langueo and the Search for Women’s Polyphony in England.” Early Music 39.3 (2011): 315–25.CrossRefGoogle Scholar
Contributor X. “Florence to Henry.” The Times Literary Supplement (29 June 1973): 751.Google Scholar
Cumming, Julie E.Renaissance Improvisation and Musicology.” Music Theory Online 19 (2013): http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.pdf.CrossRefGoogle Scholar
Dart, Thurston. The Interpretation of Music. London, 1954.Google Scholar
Di Bacco, Giuliano. De Muris et gli alti: Sulla tradizione di un trattato trecentesco di contrappunto. Lucca, 2001.Google Scholar
Dillon, Emma. Medieval Music-Making and the “Roman de Fauvel.” Cambridge, 2002.Google Scholar
Dougherty, Peter J.A Manifesto for Scholarly Publishing.” The Chronicle of Higher Education 55.39 (12 June 2009): B10B12.Google Scholar
Earp, Lawrence. “Lyrics for Reading and Lyrics for Singing in Late Medieval France: The Development of the Dance Lyric from Adam de la Halle to Guillaume de Machaut.” In The Union of Words and Music in Medieval Poetry. ed. Rebecca A. Baltzer, Thomas Cable, and James I. Wimsatt, 101–31. Austin, 1991.Google Scholar
Earp, Lawrence. Guillaume de Machaut: A Guide to Research. New York, 1995.Google Scholar
Earp, Lawrence. “Declamatory Dissonance in Machaut.” In Citation and Authority in Medieval and Renaissance Music: Learning from the Learned. ed. Suzannah Clark and Elizabeth Eva Leach, 102–22. Woodbridge, Suffolk, 2005.Google Scholar
Elders, Willem, ed. New Josquin Edition. Utrecht, 1987–.Google Scholar
Ellis, Katharine. Interpreting the Musical Past: Early Music in Nineteenth-Century France. New York, 2005.Google Scholar
Everist, Mark. “The Polyphonic Rondeau c. 1300: Repertory and Context.” Early Music History 15 (1996): 5996.10.1017/S0261127900001522CrossRefGoogle Scholar
Everist, Mark. “Motets, French Tenors and the Polyphonic Chanson ca. 1300.” Journal Musicology 24.3 (2007a): 365406.CrossRefGoogle Scholar
Everist, Mark. “‘Souspirant en terre estrainge’: The Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut.” Early Music History 26 (2007b): 142.Google Scholar
Fallows, David. Dufay. London, 1982.Google Scholar
Fallows, David. Josquin. Turnhout, 2009.Google Scholar
Fiorentino, Giuseppe. “Folía”: El origen de los esquemas armónicos entre tradición oral y transmisión escrita. Kassel, 2013.Google Scholar
Fisher, Alexander J. Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria. New York, 2014.CrossRefGoogle Scholar
Fuller, Sarah. “Concerning Gendered Discourse in Medieval Music Theory: Was the Semitone ‘Gendered Feminine’?Music Theory Spectrum 33.1 (2011): 6589.CrossRefGoogle Scholar
Guiette, Robert. Questions de littérature. Ghent, 1960.Google Scholar
Handy, Isabelle. Musiciens au temps des derniers valois (1547–1589). Paris, 2008.Google Scholar
Harper-Scott, J. P. E. The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton. Cambridge, 2012.CrossRefGoogle Scholar
Howard, Deborah, and Laura Moretti. Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. New Haven, 2009.Google Scholar
Howard, Deborah, and Laura Moretti.,eds. The Music Room in Early Modern France and Italy: Sound, Space and Object. Oxford, 2012.CrossRefGoogle Scholar
Huot, Sylvia. From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry. Ithaca, 1987.Google Scholar
Huot, Sylvia. “Guillaume de Machaut and the Consolation of Poetry.” Modern Philology 100.2 (2002): 169–95.CrossRefGoogle Scholar
Irving, D. R. M. Colonial Counterpoint: Music in Early Modern Manila. Oxford, 2010.CrossRefGoogle Scholar
Janin, Barnabé. Chanter sur le livre: Manuel pratique d’improvisation polyphonique de la renaissance (XVe et XVIe siècles). [Langres], 2012.Google Scholar
Jeanroy, Alfred. “La littérature de langue française des origines à Ronsard.” In Histoire des lettres (des origines à Ronsard). ed. Joseph Bédier, Alfred Jeanroy, and F. Picavet, 237–576. Paris, 1921.Google Scholar
Kay, Sarah. “Touching Singularity: Consolation, Philosophy, and Poetry in the French dit.” In The Erotics of Consolation: Desire and Distance in the Late Middle Ages. ed. Catherine E. Léglu and Stephen J. Milner, 21–38. Basingstoke, 2008.Google Scholar
Kerman, Joseph. Contemplating Music. Cambridge, MA, 1985.Google Scholar
Knighton, Tess, and Álvaro Torrente, eds. Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres. Aldershot, 2007.Google Scholar
Kügle, Karl. “De ordinatio van het ‘Gruuthuse’-liedboek en de Europese muziek omstreeks 1400.” In Het Gruuthuse-handschrift in woord en klank: Nieuwe inzichten, nieuwe vragen. ed. Frank Willaert, 81112. Ghent, 2010.Google Scholar
Kügle, Karl. “Glorious Sounds for a Holy Warrior: New Light on Codex Turin J.II.9.” Journal of the American Musicological Society 65.3 (2012): 637–90.Google Scholar
Kügle, Karl. “Muziek in Brugge rond 1400.” In Liefde en Devotie: Het Gruuthusehandschrift — kunst en cultuur omstreeks 1400. ed. J. Koldeweij, I. Geysen, and E. Tahon, 108–23. [Antwerp], 2013.Google Scholar
Leach, Elizabeth Eva. “Learning French by Singing in Fourteenth-Century England.” Early Music 33.2 (2005): 253–70.CrossRefGoogle Scholar
Leach, Elizabeth Eva. “Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression.” Music Theory Spectrum 28.1 (2006): 121.Google Scholar
Leach, Elizabeth Eva. “Nature’s Forge and Mechanical Production: Writing, Reading, and Performing Song.” In Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages. ed. Mary Carruthers, 7295. Cambridge, 2010.Google Scholar
Leach, Elizabeth Eva. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, 2011a.CrossRefGoogle Scholar
Leach, Elizabeth Eva. “Reading and Theorizing Medieval Music Theory: Interpretation and Its Contexts.” Music Theory Spectrum 33.1 (2011b): 9098.CrossRefGoogle Scholar
Leach, Elizabeth Eva. “Poet as Musician.” In A Companion to Guillaume de Machaut. ed. Deborah McGrady and Jennifer Bain, 4966. Leiden, 2012.Google Scholar
Leach, Elizabeth Eva. “Early Music and Web 2.0.” Early Music 41.1 (2013): 134–35.10.1093/em/cas148CrossRefGoogle Scholar
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge, 2002.Google Scholar
Lindmayr-Brandl, Andrea. “Rudolf von Fickers Einleitungstext zum sechsten Auswahlband der Trienter Codices in den DTÖ: Ein wideraufgefundener Entwurf aus dem Nachlass.” In Rudolf von Ficker (1886–1954). ed. Lukas Christensen, Kurt Drexel, and Monika Fink, 103–40. Innsbruck, 2012.Google Scholar
Meyer, Christian, Cesarini Ruini, and Giuliano Di Bacco. The Theory of Music: Manuscripts from the Carolingian Era up to c. 1500; Descriptive Catalogue of Manuscripts: Addenda, Corrigenda. Munich, 2003.Google Scholar
Milsom, John. “Absorbing Lassus.” Early Music 33 (2005): 305–20.CrossRefGoogle Scholar
Monson, Craig A. Nuns Behaving Badly: Tales of Music, Magic, Art, and Arson in the Convents of Italy. Chicago, 2010.CrossRefGoogle Scholar
Peraino, Judith A. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley, 2005.CrossRefGoogle Scholar
Peraino, Judith A. Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut. New York, 2011.10.1093/acprof:oso/9780199757244.001.0001CrossRefGoogle Scholar
Pieragostini, Renata. “Rediscovering Lost Evidence: Little-Known Fragments with English Polyphony in Bologna.” Music and Letters 92.3 (2011): 343–76.CrossRefGoogle Scholar
Plumley, Yolanda. “An ‘Episode in the South’? Ars Subtilior and the Patronage of French Princes.” Early Music History 22 (2003): 103–68.Google Scholar
Plumley, Yolanda. The Art of Grafted Song: Citation and Allusion in the Age of Machaut. Oxford, 2013.CrossRefGoogle Scholar
Plumley, Yolanda, and Anne Stone, eds. A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564). Turnhout, 2009.Google Scholar
Poirion, Daniel. Le poète et le prince: L’évolution du lyrisme courtois de Guillaume de Machaut à Charles d’Orléans. Grenoble, 1965.Google Scholar
Rotter-Broman, Signe. Komponieren in Italien um 1400: Studien zu dreistimmig überlieferten Liedsätzen von Andrea und Paolo da Firenze, Bartolino da Padova, Antonio Zacara da Teramo und Johannes Ciconia. Hildesheim, 2012.Google Scholar
Saltzstein, Jennifer. The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry. Woodbridge, Suffolk, 2013.Google Scholar
Saul, Scott. “The Humanities in Crisis? Not at Most Schools.” New York Times, 3 July 2013.Google Scholar
Schiltz, Katelijne, and Bonnie J. Blackburn, eds. Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History; Proceedings of the International Conference, Leuven, 4–6 October 2005. Leuven, 2007.Google Scholar
Schubert, Peter. Modal Counterpoint, Renaissance Style. 2nd ed. New York, 2008.Google Scholar
Schubert, Peter. “From Improvisation to Composition: Three 16th-c. Case Studies.” http://www.academia.edu/3837270/.Google Scholar
Slim, H. Colin. A Gift of Madrigals and Motets. Chicago, 1972.CrossRefGoogle Scholar
Stoessel, Jason. “Revisiting Aÿ, mare, amice mi care: Insights into Late Medieval Music Notation.” Early Music 40.3 (2012): 455–86.CrossRefGoogle Scholar
Stone, Anne. The Manuscript Modena, Biblioteca Estense, Alpha.M.5.24: Commentary. Lucca, 2005.Google Scholar
Stone, Anne. “Machaut Sighted in Modena.” In Citation, Intertextuality and Memory in the Middle Ages and Renaissance. ed. Yolanda Plumley, Giuliano Di Bacco, and Stefano Jossa, 170–89. Exeter, 2011.Google Scholar
Strohm, Reinhard. “Vom Internationalen Stil zur Ars Nova? Probleme einer Analogie.” Musica Disciplina 41 (1987): 513.Google Scholar
Strohm, Reinhard. “Music, Humanism, and the Idea of a ‘Rebirth’ of the Arts.” In Music as Concept and Practice in the Late Middle Ages. ed. Reinhard Strohm and Bonnie J. Blackburn, Vol. 3.1:346–88. Oxford, 2001.Google Scholar
Tomlinson, Gary. The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge, 2007.Google Scholar
Tribble, Evelyn. “Distributing Cognition in the Globe.” Shakespeare Quarterly 56.2 (2005): 135–55.CrossRefGoogle Scholar
van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago, 2005.Google Scholar
van Orden, Kate. Music, Authorship, and the Book in the First Century of Print. Berkeley, 2014.Google Scholar
Whiting, Bartlett J.Froissart as Poet.” Mediaeval Studies 8 (1946): 189216.CrossRefGoogle Scholar
Wilbourne, Emily. “ Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body.” Journal of the American Musicological Society 63 (2010): 143.CrossRefGoogle Scholar
Winternitz, Emanuel. Leonardo da Vinci as a Musician. New Haven, 1982.Google Scholar
Wistreich, Richard. Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Farnham, 2007.Google Scholar
Witkowska-Zaremba, Elżbieta. Notae musicae artis: Musical Notation in Polish Sources, 11th–16th Century. Krakow, 2001.Google Scholar
Yardley, Anne Bagnall. Performing Piety: Musical Culture in Medieval English Nunneries. New York, 2006.CrossRefGoogle Scholar
Zayaruznaya, Anna. “‘She has a Wheel that Turns’: Crossed and Contradictory Voices in Machaut’s Motets.” Early Music History 28 (2009): 185240.CrossRefGoogle Scholar
Zeeman, Nicolette. “The Gender of Song in Chaucer.” Studies in the Age of Chaucer 29 (2007): 141–82.CrossRefGoogle Scholar