The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations.
Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Active as both clarinetist and musicologist, Charles M. Atkinson is a scholar whose work is devoted primarily to music within the intellectual history of Antiquity and the Middle Ages. His areas of research and publication range from ancient Greek conceptions of tónos to medieval liturgy and music to the early history of American jazz. He is Professor of Musicology at The Ohio State University and President of the American Musicological Society.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Paperback. Etat : new. Paperback. The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Outof this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basicincompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations.Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy betweenclassical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, andnotation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music. The Critical Nexus is the first book to trace the development of the notational matrix of Western music from Antiquity to the fourteenth century. It shows how principles of ancient Greek theory were grafted onto medieval practice, leading to a theory of both tone-system and mode, and a concomitant system of musical notation, that is uniquely Western. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780190273996
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Paperback. Etat : New. The Critical Nexus confronts an important and vexing enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, Charles Atkinson creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the sixth to the twelfth century. Out of this examination emerges the central point behind the problem: the tone-system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and that this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone-system, mode, and notation, Atkinson promises new and far-reaching insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Atkinson builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation. This book will be of interest to all musicologists, music theorists working on mode, early music specialists, chant scholars, and medievalists interested in music. N° de réf. du vendeur LU-9780190273996
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Etat : New. Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. Series: AMS Studies in Music. Num Pages: 322 pages, 20 halftones; 25 line illustrations. BIC Classification: AVA; AVGC2. Category: (G) General (US: Trade). Dimension: 234 x 156 x 20. Weight in Grams: 476. . 2015. Reprint. Paperback. . . . . Books ship from the US and Ireland. N° de réf. du vendeur V9780190273996
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