Reading Renaissance Music Theory

Hearing with the Eyes

AvCristle Collins Judd,Ian Bent

Häftad, Engelska, 2006

Del 14 i serien Cambridge Studies in Music Theory and Analysis

387 kr

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Beskrivning

This book examines a central group of music theory treatises that have formed the background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. Numerous broader issues are addressed in the process: the relationship of theory and praxis; access to, and use of, printed musical sources; stated and unstated agendas of theorists; orality and literacy as it was represented via music print culture; the evaluation of anonymous repertories; and the analysis of repertories delineated by boundaries other than the usual ones of composer and genre. In particular this study illuminates the ways in which Renaissance theorists' choices have shaped later interpretation of earlier practice, and reflexively the ways in which modern theory has been mapped on to that practice.

Produktinformation

Utgivningsdatum:2006-11-02
Mått:170 x 245 x 20 mm
Vikt:540 g
Format:Häftad
Språk:Engelska
Serie:Cambridge Studies in Music Theory and Analysis
Antal sidor:364
Förlag:Cambridge University Press
ISBN:9780521028196

Utforska kategorier

Musikvetenskap inom Kultur
Klassisk musik, konstmusik och orkestermusik inom Kultur

Mer om författaren

Cristle Collins Judd is Assistant Professor of Music Theory at the University of Pennsylvania and editor of Tonal Structures in Early Music (1998).

Recensioner i media

'… present[s] some interesting ideas about the many levels at which theory has shaped and influenced our understanding of music.' BBC Music

Innehållsförteckning

List of illustrations; Foreward Ian Bent; Preface; Part I. Beginnings: 1. Prologue: Exempli gratia …; 2. Music theory incunabula: printed books, printed music; Part II. 1520–1540: Pietro Aron and Seybald Heyden: 3. Pietro Aron and Petrucci's prints; 4. Music anthologies, theory treatises, and the Reformation: Nuremberg in the 1530s and 1540s; Part III. The Polyphony of Heinrich Glarean's Dodecachordon (1547): 5. Exempla, commonplace books, and writing theory; 6. The polyphony of the Dodecachordon; Part IV. Gioseffo Zarlino's Le Istitutioni Harmoniche (1558): 7. Composition and theory mediated by print culture; 8. 'On the modes': the citations of Le Istitutioni Harmoniche part IV; Part V. Readings Past and Present: 9. Exempli gratia: a reception history of Magnus es tu Domine/Tu pauperum refugium; 10. Epilogue: reading theorists reading (music); Bibliography; Index.