Music and Performance in the Later Middle Ages
Music and Performance in the Later Middle Ages seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers, listeners, and scribes in music-making. By treating the musical manuscripts of the Chantilly Codex and the Oxford manuscript, Canonici misc. 213 not just as scores, but as artifacts of material culture, Elizabeth Randell Upton illustrates how it is possible to recover more evidence about the composition, performance, and consumption of music than has previously been realized.
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Alejandro Enrique Planchart Alejandro Planchart Besseler bifolios breves Cambridge cantus Carlo century ceremonies chansons Chantilly Codex church clefs composers composition context contratenor copied court crowned longs Culture David Fallows dedicatee discussion Early Music edited ensemble evidence experience ﬁfth ﬁnal ﬁrst folio four Grove Music Online Guillaume de Machaut Guillaume Du Fay historical late medieval listeners liturgical lower voices Machaut Malatesta manuscript marriage medieval music melisma melody mensuration Middle Ages modern motet Musica Disciplina musical section musicological musicologists notated notes Nuper rosarum flores octave ofmusic ofthe Oxford Music Online partial texting pattern performance piece pitch Planchart play PMFC poem poetry polyphonic pope recorded refrain verse Resveillie’s rondeau rondeau form sacred secular semibreve sing singers speciﬁc stanza strophe strophic form strophic song structure sung surviving syllables tenor three voices tion triplum University Press upper voices virelai Vittoria vocal ranges wedding words written