LEADER 08272cam 22003738a 4500001 ocm21675373 005 20141212081943.0 008 900511s1990 nyuag b 001 0 eng 010 90038155 020 002872951X : |c$29.95 035 (Sirsi) o21675373 035 (OCoLC)21675373 040 DLC |cDLC |dERE |dUtOrBLW 049 EREM 050 00 ML172 |b.W6 1990 082 00 780/.9/02 |220 100 1 Wilson, David Fenwick. |=^A264033 245 10 Music of the Middle Ages : |bstyle and structure / |cDavid Fenwick Wilson. 260 New York : |bSchirmer Books ;London : |bCollier Macmillan, |c©1990. 300 xxii, 403 pages : |billustrations, maps, music ; |c 25 cm + |e 2 audiocassettes 336 text |2rdacontent 337 unmediated |2rdamedia 338 volume |2rdacarrier 504 Includes bibliographical references and index. 505 00 |gPart 1. |tThe Carolingina era 800-1150. |tRoman-Gallican chant. |Historical background ; |tThe Byzantine empire ; |tThe papacy ; |tThe Frankish kingdom ; |tThe Frankish-papal alliance ; |tCharlemagne -- |tMusic in the western church. |tRoman and Gallican chant ; |tRoman-Gallican chant -- |tMelodic and rhythmic characteristics. |tMeoldy ; |tRhythm -- |tThe tonal system and the modes. |tThe Oktoechoes ; |tWestern modality ; |tMelody types ; |tThe tonal system ; |tModality in practice -- |tNotation. |tThe sources ; |tOther chant repertoires ; |tAmbrosian ; |tMozarabic ; |tOld Beneventan ; |tOld Roman -- |tPracticum: modern chant notation -- |tLiturgy and Chant. |tThe divine offices ; |tRhymed offices ; |tThe mass ; |tThe chants of the mass proper and the offices ; |tLiturgical recitative and psalmody ; |tAntiphonal chants ; |tResponsorial chants ; |tTract ; |tSpecial antiphons ; |tHymns -- |tThe chants of the ordinary of the mass ; |tSymmetrical texts ; |tThe prose texts ; |tThe dismissal formulas -- |tPracticum: Plainchant analysis -- |tMedieval chant. |tOrganization and structure ; |tThe chants of the ordinary ; |tEmbellishments of the liturgy ; |tThe sequence ; |tLiturgical drama -- |tModal theory ; |tEvolving modal theory ; |tThe fully developed theory -- |tNotation -- |tTeaching aids ; |tThe hexachords and solmization ; |tThe gamut ; |tThe hand -- |tPracticum: singing with the hexachords. |tEarly polyphony. |tParallel orgtanum -- |tOblique organum -- |tThe sources -- |tPracticum: composition and improvisation ; |tParallel organum ; |tOblique organum -- |gPart II. |tThe flowering of style 1050-1250. |tFree organum. |tStyle ; |tStylistic concepts ; |tThe changing place of polyphony in the service ; |tTheoretical concepts ; |tThe organum modes -- |tConsonance and dissonance ; |tThe medieval system of classification ; |tThe individual intervals -- |tHistorical considerations -- |tPracticum: composition of free organum. |tThe sacred music of southern France. |tThe sources -- |tThe monophonic versus ; |tPoetic structure ; |tTexture and phrase structure ; |tTonal structure and mode -- |tThe polyphonic versus ; |tSyllabic style ; |tThe florid and melismatic styles ; |tUnderlying structure ; |tNeume-against-neume melisma -- |tTonal organization ; |tSuccessive composition ; |tVersus in G ; |tVersus in D -- |tCantus firmus settings -- |tRhythm -- |tPracticum 1: poetic analysis -- |tPracticum 2: composition in the florid style -- |tSecular monophonic music. |tSouthern France: the troubadours ; |tCourtly love ; |tThe sources ; |tThe poetry ; |tMusical style ; |tMusical form ; |tRhythm -- |tNorthern France: the trouveres ; |tThe sources ; |tThe poetry ; |tMusical style ; |tNotation and tonality -- |tMonophonic song outside of France ; |tGermany ; |tSpain ; |tItaly ; |tEngland -- |tOther polyphonic styles. |tThe liber sancti jacobi ; |tConductus ; |tCantus firmus settings ; |tThree-voiced composition -- |tPrimitive polyphony -- |tHistorical considerations -- |tSacred music in Paris. |tThe music of Notre Dame ; |tThe sources -- |tThe development of rhythm ; |tThe first stages ; |tThe rhythmic organization of the tenor ; |tThe rhythm of the upper voices ; |tThe ordo -- |tNotation -- |tOrgana dupla ; |tGeneral styles ; |tAlleluia: adorabo ad templum -- |tOrgana tripla and quadrupla ; |tSonorities ; |tTonal structure -- |tMonophonic conductus ; |tMusical style ; |tThe rondellus/rondeau -- |tThe polyphonic conductus ; |tMusical style -- |tPolyphonic techniques ; |tLiteral repetition ; |tRepetition with open and closed endings ; |tRepetition in one voice ; |tRepetition with voice exchange ; |tMelodic sequence ; |tMotivic interchange and interrelationships ; |tImitation and canon ; |tModal transmutation ; |tHocket -- |tThe rhythmic context of Parisian Polyphony -- |gPart III. |tThe era of the motet 1200-1400. |tThe Early Motet (ca. 1200-1270). |tDefinitions -- |tThe sources -- |tNotation -- |tChronological development ; |tThe trope-oriented motet ; |tThe independent motet ; |tMidcentury styles -- |tForm and style ; |tRhythmic style ; |tMelodic style ; |tVoice relationships ; |tHarmonic style ; |tTonality -- |tThe texts -- |tPracticum: composition of the motet-style midthirteenth-century discant. |tThe continental motet of the late thirteenth century (ca. 1270-1300). |tMensural rhythm ; |tFranconian rhythm ; |tPetronian Rhythm ; |tConservative rhythmic style -- |tIsomelic structure -- |tSecular tenors -- |tMusical style ; |tVoice relationships ; |tSonorities ; |tHarmonic rhythm ; |tTonality -- |tThe texts -- |tThe hocket. |tThe English motet (ca. 1250-1350). |tThe English concept of motet ; |tThe cantus firmus motets ; |tThe troped chant settings ; |tMotets on a pes -- |tStructural techniques ; |tIsoperiodicity ; |tIsomelism ; |tVoice exchange -- |tTonal concepts ; |tTonal unity ; |tSonorities -- |tThe sources -- |tNotation ; |tModal notation ; |tEnglish mensural notation ; |tFranconian notation ; |tCircle-stem notation ; |tBreve-semibreve notation -- |tMusical style ; |tRange ; |tFour-voice idioms -- |tThe texts. |tThe continental motet in the fourteenth century. |tThe sources -- |tThe composers -- |tNotation ; |tRed notation -- |tIsorhythm ; |tThe isorhythmic tenor ; |tIsoperiodicity ; |tUpper-voice isorhythm ; |tThe introitus -- |tMusical style ; |tRange and voice relationships ; |tHarmonic rhythm ; |tMelodic style ; |tSonorities ; |Four-voice writing ; |tThe solus tenor -- |tThe texts -- |tThe motet in Italy -- |tA fifteenth-century epilogue -- |tPracticum: isorhythmic motet analysis. |tFourteenth-century polyphonic mass movements. |tMusical style ; |tMotet style ; |tSong style ; |tThe simultaneous style -- |tMass cycles -- |tThe English cantilena. |gPart IV. |tThe polyphonic song 1330-1400. |tPolyphonic song in fourteenth-century France. |tThe sources ; |tRepertoire ; |tNotation -- |tThe forms ; |tThe virelai ; |tThe rondeau ; |tThe ballade ; |tThe lai ; |tThe chace -- |tMelody ; |tSyllabic and near-syllabic melody ; |tMelismatic melody -- |tPolyphonic techniques ; |tTwo-voice framework ; |tThree- and four-voice writing ; |tDisplacement technique -- |tTonality ; |tRelationship of ouvert and clos ; |tPolyphonic cadence structure -- |tText-music relationships -- |tArs subtilior ; |tMusical style ; |tDiscant ; |tPartial signatures ; |tNotation -- |tPracticum: composition in fourteenth-century song style. |tPolyphonic song in fourteenth-century Italy. |tThe sources -- |tNotation -- |tThe composers ; |tThe first generation ; |tThe second generation -- |tThe forms ; |tThe madrigal ; |tThe caccia ; |tThe ballata -- |tMelody -- |tPolyphonic structure ; |tTwo-voice composisiton ; |tThree-voice composition using canon ; |tThree-voice composition without canon -- |tTonality -- |tThe end of an era. |tAn instrumental postscript. |tSecular music ; |tInstruments in secular monophony ; |tInstruments in secular polyphony -- |tSacred music. 520 Music of the Middle Ages provides a comprehensive, chronological survey of musical style and compositional technique from early plainchant to the flourishing of fourteenth-century polyphony. 650 0 Music |y500-1400 |xHistory and criticism. |=^A177511 650 0 Style, Musical. |=^A20000 650 0 Music theory |xHistory |y500-1400. |=^A520617 919 BOOK 596 3 998 378522