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Music as Concept and Practice in the Late Middle Ages

Author : Reinhard Strohm
Publisher : Oxford University Press on Demand
Release Date : 2001
ISBN : 9780198162056
Pages : 522 pages
Rating : 4.2/5 (57 Download)

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Download Free Music as Concept and Practice in the Late Middle Ages PDF by Reinhard Strohm Full Book and published by Oxford University Press on Demand. This book was released on 2001 with total page 522 pages. Available in PDF, EPUB and Kindle. Book excerpt: 'Music as Concept and Practice in the Late Middle Ages' is an entirely new addition to the New Oxford History of Music series rather than a revision of the volume's predecessor published in 1960. It takes account not only of the developments in late-medieval music scholarship during the latterdecades of the twentieth century, but also of the experience gained through significant changes in the performance practice of the late-medieval repertory witnessed during this period. All the chapters include areas of discussion whose coverage in the series hitherto has been either wholly lackingor, at best, marginal: Muslim and Jewish musical traditions of the Middle Ages, late-medieval office chant, medieval dance music, musical instruments in society, music in Central and Eastern Europe, music theory of the fourteenth and fifteenth centuries, music and early Renaissance humanism. Thefirst chapter and the last three present the conceptualization of music in speculative theory, philosophy, compositional and didactic practice, and musical historiography. Four chapters, and part of the first, illustrate important musical repertories and genres as they were developed within diversesocieties. The eight authors - all of them with a long-standing interest in their respective subjects - have created through their collaboration a blend of mature scholarship and original investigation. The volume's novelty of approach and content is complemented by a firm anchorage in thespecialist literature and documentary source material. Today, no single view of 'the Middle Ages' can be acceptable to the musician or to the historian. The present volume, which addresses itself to both, provides solid information on formerly marginal themes, and advocates further exploration ofthe 'other' Middle Ages.