Introduction to medieval music

19,90 inkl. Mwst.

Includes 7% red. VAT (DE)

With numerous music examples

Out of stock

ISBN: 978-3-927240-13-1 SKU: EMA Category: Tags: ,

Description

“Introduction to Medieval Music” – this book is the result of the authors’ many years of experience and deep passion for medieval music. It offers you a comprehensive insight into the music of the Middle Ages and a wide selection of easy-to-play sheet music examples from different cultures and regions.

Expert knowledge at first hand

We enthusiastically present an in-depth introduction to medieval music, written by experts who experience and teach this music in practice. The work seamlessly combines in-depth historical knowledge with applicable techniques and approaches.

Understanding the basics and context

In this book you will receive clear and accessible information about the basic aspects of medieval music and its historical context. Explore the development from monophonic to polyphonic music, from Gregorian chant to the complex structures of Ars Nova.

Influence and exchange

A special chapter is dedicated to the significant influence of Arabic music and shows how it shaped the European musical landscape of the Middle Ages. Find out how this cultural exchange influenced the development of music and deepened the understanding of historical performance practice.

Extensive repertoire and practical tips

The book not only offers an extensive list of pieces of music from Hildegard von Bingen to Carmina Burana, but also practical tips on historical performance practice. It serves as a valuable reference work for questions about the music of this period and helps musicians to give authentic performances.

Why this book is an enrichment

This “Introduction to Medieval Music” is an essential tool for anyone who wants to take an in-depth look at this musical epoch. The book is not only a source of inspiration, but also a practical guide to help you expand your musical repertoire and develop a sound understanding of medieval art forms. Expand your knowledge and skills in medieval music by purchasing this comprehensive guide.

Additional information

Weight 0,510 kg
Product shape

Softcover

author

,

Total number of pages

128

Product language

German

Product shape - detailed

A4, Perfect binding

Herstellungsland

Germany

Primary product content

Musical notation

Product group

HC/Music/Music Theory, Music Theory

Foreword

It is with great pleasure that I write this foreword.

This introduction to medieval music was long overdue. Finally a book by knowledgeable practitioners.

No art, and certainly not its practical performance aspects, can be fully grasped by theorists who are far removed from practice and often even hostile to it.

At last a book about medieval music by people who have had intensive practical contact with this music for years, who never ignore the historical and theoretical, but who never use it more than is necessary and enlightening.

Art has never been a matter of pure theory. But everything we do is associated with risk, with adventure in a certain sense. And one of the most beautiful and rewarding adventures today is certainly the practical approach to medieval music. Not only does it introduce us to timeless masterpieces that are often among the greatest that mankind has produced, but it also forces us to adopt a freer and more open attitude towards music. Instead of the psychologically rigid monotony of mental patent solutions, remaining open to a variety of good, useful possibilities. The time-art of music, fluid and changeable in its practice.

The two authors have done an excellent job of conveying all this.

I therefore accompany this expert introduction to the music of the Middle Ages with every good wish.

Vienna, January 5, 1999
Prof. Dr. René Clemencic

Content

  1. Monophonic music
    • Gregorian chant
    • Modes – Church modes
    • Composers, performers and styles
      • A brief overview
      • Spielmann and Menestrel
      • The time of the troubadours, the trouvères and the minstrels
        • The Troubadours (Trobadors and Trobairitz)
        • The Trouvères
        • Minstrels
    • Epilogue
  2. Polyphonic music
    • The beginnings of the occidental polyphony
    • The early organum
    • The classic organum
    • The School of Notre-Dame
      • Modal rhythm
      • Leonin and Perotin
        • Leonin
        • Perotin
    • The Conductus
    • The motet
      • Development of the motet
      • Score order and part order of the motet
    • Ars Antiqua – The Frankonian notation or mensural notation
      • Franco of Cologne
      • Johannes de Grocheo
      • Roman de Fauvel
    • Ars Nova – Trecento – French and Italian notation
      • The Ars Nova in France
        • Phillippe de Vitry
        • The motet
        • The ballad
        • The Virelais
        • The Rondeau
        • The cache
    • The Italian Trecento
      • The madrigal
      • The Caccia
      • The Ballata
    • The Ars Subtilior
    • Polyphony in England
  3. The Arab influence and its effects
    • The Arab influence and its effects
  4. Historical performance practice
    • Practical advice
    • Thoughts on the topic of “historical performance practice”
  5. Repertoire list with (music) historical background information
    • Hildegard of Bingen
    • Carmina Burana
    • Orient and Occident: Travel in the Middle Ages
    • Marian songs from Spain and France
      • La Morenica (the black maiden)
      • Cantigas de Santa Maria – Alfonso X “el Sabio”
    • The development of independent instrumental music in the Middle Ages
      • The London Manuscript, Brit. Lib. Add. 29987
      • Codex Faenza, BC 117
      • Fundamendum Organisandi
      • Epilogue
    • On the development of composer personalities
      • Guillaume Dufay and his secular works
    • Metamorphoses in the music of the Middle Ages
  6. Music examples
    • Music examples
  7. Instrument directory, instrument makers and dealers
    • List of instruments
    • Instrument makers and dealers
  8. Bibliography and secondary literature
    • Bibliography and secondary literature
  9. Index

Author:inside

Marco Ambrosini

(Forlì, Italy): Studied violin, music theory and composition. Co-founder of the international early music ensemble “Oni Wytars” and the “Katharco Early Music Consort”, soloist with several early and contemporary music ensembles, lecturer and composer.

Michael Posch

(Klagenfurt, Austria): Studied recorder, musical director of the ensemble “Unicorn”, worldwide concert activity. Lecturer and head of the Early Music Department at the Vienna Conservatory.