About the Book
With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.
Table of Contents
Illustrations
Music examples
Abbreviations
Introduction
Contributors
I The music of the past and the modem ear
I Daniel Leech-Wilkinson The good, the bad and the boring
2 James Haar Value judgments in music of the Renaissance
3 Christopher Page The English a cappella heresy
4 Tess Knighton Going down on record
5 Thomas Binkley The work is not the performance
6 Peter Phillips Beyond authenticity
7 Philip Pickett Hard-sell, scholarship and silly titles
II Aspects of music and society
8 Reinhard Strohm Centre and periphery: mainstream and provincial
music
9 Barbara Haggh The meeting of sacred ritual and secular piety:
endowments for music
IO Keith Falconer Ritual reflections
II Christopher Page Musicus and cantor
I2 Tess Knighton A day in the life ofFrancisco de Penalosa
I3 Anthony Rooley A portrait of Sir Henry Unton
I4 Laura W. Macy Women's history and early music
III Questions of form and style
GENRES: VOCAL
I5 Katherine Bergeron Chant,or the politics of inscription
I6 Ardis Butterfield Monophonic song: questions of category
I7 Hendrik van der Werf Early Western polyphony
I8 Margaret Bent The late-medieval motet
I9 Philip T. Jackson Mass polyphony
20 David Fallows Polyphonic song
2I Margaret Mabbett Genre and function: some thoughts on Italian
secular vocal music in the sixteenth
century
GENRES: INSTRUMENTAL
22 Lewis Jones Fourteenth- and fifteenth-century keyboard
music
23 Hopkinson Smith Plucked instruments: silver tones of a golden
age
24 Randall Cook The medieval fiddle: reflections of a performer
25 Crawford Young On the trail of ensemble music in the fifteenth
century
26 Lorenz Welker Wind ensembles in the Renaissance
TECHNIQUES OF COMPOSITION
27 Gareth Curtis Musical design and the rise of the cyclic
Mass
28 Irena Cholij Borrowed music: 'Allez regrets' and the use of
pre-existentmaterial
IV Using the evidence
29 Elizabeth C. Teviotdale Music and pictures in the Middle Ages
30 lain Fenlon Music in Italian Renaissance painting
3I Stevie Wishart Echoes of the past in the present
32 Lewis Jones Surviving instruments
33 Reinhard Strohm Unwritten and written music
34 Frederick Hammond Researching the past: archival studies
35 Michael Noone A manuscript case-study
V Pre-performance decisions
36 Bruno Turner The editor: diplomat or dictator?
37 Liane Curtis Mode
38 Rob C. Wegman Musica ficta
39 Kenneth Kreitner Renaissance pitch
40 Honey Meconi Is underlay necessary?
4I Alison Wray Restored pronunciation
42 Jan Nuchelmans Finding the right context: where to perform
early music
VI Performance techniques
43 Paul Hillier Framing the life of the words
44 John Potter Reconstructing lost voices
45 Rogers Covey-Crump Pythagoras at the forge: tuning in early music
46 Richard Sherr Tempo to I500
47 Ephraim Segerman Tempo and tactus after I500
48 Bernard Thomas Divisions in Renaissance music
49 Andrew Lawrence-King 'Perfect' instruments
T.K. Chronology
T.K. Glossary
D. F. Index
