Companion to Medieval and Renaissance Music (Paperback)

Edité par Oxford University Press, 1998
ISBN 10: 0198165404 / ISBN 13: 9780198165408
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Language: English . Brand New Book. The years since the early music revival gathered momentum in the 1960s and 70s have witnessed many new developments in the field of pre-Baroque music: some revelatory recordings and concert performances have opened our ears to a new range of possible sound worlds for music of this period, and scholars have made discoveries that in many ways challenge the accepted views about this until recently neglected end of the repertory. Much pre-1600 music, the more so the further we go back in time, sound not only unfamiliar but also strange to modern ears accustomed to the harmonies and rhythms that later came to dominate the Western musical tradition. How to account for this strangeness and how to weave it into our own musical experience are questions that confront us whenever we attempt to draw nearer to the music: its beauty is readily appreciated, but its meaning is often elusive. David Fallows and Tess Knighton, scholars and critics in the field of medieval and Renaissance music, invited a number of international researchers and performers to contribute short essays on some of the most intriguing aspects of the subject. The aim was not so much a comprehensive reference book, although the Glossary gives brief definitions of terms and composer biographies, nor a strictly chronological survey, though the Chronology provides an overview of the main developments of the period, for these basic tools are already available. Rather, the Companion to Medieval and Renaissance Music, spanning over eight centuries of music-making, hopes to broaden and stimulate the reader s interest by discussing issues of live debate such as the original context for the music, how it was composed, and the ways in which it was performed. What was it like to be a composer in the Middle Ages? Can we appreciate the difference between a good and a bad piece of medieval polyphony? Why did certain musical genres flourish and others fall into disuse? What can surviving documents or pictures or the musical manuscripts themselves tell us about how the music was performed, listened to, and appreciated during the period? The essays consider a wide range of the kind of evidence from which scholars and performers have to draw their conclusions and make the decisions that affect the ways in which the music can be brought back to life today. N° de réf. du libraire

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Synopsis : The years since the early music revival gathered momentum in the 1960s and 70s have witnessed many new developments in the field of pre-Baroque music: some revelatory recordings and concert performances have opened our ears to a new range of possible sound worlds for music of this period, and scholars have made discoveries that in many ways challenge the accepted views about this until recently neglected end of the repertory. Much pre-1600 music, the more so the further we go back in time, sound not only unfamiliar but also strange to modern ears accustomed to the harmonies and rhythms that later came to dominate the Western musical tradition. How to account for this strangeness and how to weave it into our own musical experience are questions that confront us whenever we attempt to draw nearer to the music: its beauty is readily appreciated, but its meaning is often elusive.

David Fallows and Tess Knighton, scholars and critics in the field of medieval and Renaissance music, invited a number of international researchers and performers to contribute short essays on some of the most intriguing aspects of the subject. The aim was not so much a comprehensive reference book, although the Glossary gives brief definitions of terms and composer biographies, nor a strictly chronological survey, though the Chronology provides an overview of the main developments of the period, for these basic tools are already available. Rather, the Companion to Medieval and Renaissance Music, spanning over eight centuries of music-making, hopes to broaden and stimulate the reader's interest by discussing issues of live debate such as the original context for the music, how it was composed, and the ways in which it was performed.

What was it like to be a composer in the Middle Ages? Can we appreciate the difference between a good and a bad piece of medieval polyphony? Why did certain musical genres flourish and others fall into disuse? What can surviving documents or pictures or the musical manuscripts themselves tell us about how the music was performed, listened to, and appreciated during the period? The essays consider a wide range of the kind of evidence from which scholars and performers have to draw their conclusions and make the decisions that affect the ways in which the music can be brought back to life today.

Critique: "Fallows and Knighton have gone a significant distance towards breaking down the barriers that separate the several different early music constituencies. Collecting such a diverse set of essays was a brave, interesting, and largely successful project."--Timothy J. McGee, "Notes

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Détails bibliographiques

Titre : Companion to Medieval and Renaissance Music ...
Éditeur : Oxford University Press
Date d'édition : 1998
Reliure : Paperback
Etat du livre : New

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KNIGHTON, Tess and David Fallows (edit)
Edité par Oxford University Press, Oxford & New York (1997)
ISBN 10 : 0198165404 ISBN 13 : 9780198165408
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Description du livre Oxford University Press, Oxford & New York, 1997. SOFTCOVER. 1st Edition Thus. Large Octavo size (8vo) in colour printed stiff glossy card covers,428pp, illustrations and musical examples in text, index etc . . . . . [ CONDITION : An extremely well preserved almost AS NEW unread or barely read copy (very small and slight bump to top corner tip of rear cover - from poor handling, top edge of page block slightly dusty) ] . . . . . . . . . . . . . To see more of our books on Music, Opera etc. type DbbMUSIC in the Keywords search box. N° de réf. du libraire T42609

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Description du livre Oxford Univ Pr, 1997. État : Good. New Ed. N/A. Ships from the UK. Former Library book. Shows some signs of wear, and may have some markings on the inside. N° de réf. du libraire GRP29643111

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Description du livre Oxford Univ Pr, 1997. État : Very Good. New Ed. N/A. Ships from the UK. Former Library book. Great condition for a used book! Minimal wear. N° de réf. du libraire GRP16419302

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Description du livre . Paperback. État : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. N° de réf. du libraire GOR005530884

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Description du livre Oxford University Press, 1997. Soft Cover. First Edition. Very near fine paperback. Unread copy. Small diagonal crease to the top corner of page 294. First Thus first printing. N° de réf. du libraire 20130603

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Description du livre Oxford University Press. Paperback. État : new. BRAND NEW PRINT ON DEMAND., Companion to Medieval and Renaissance Music, Tess Knighton, David Fallows, The years since the early music revival gathered momentum in the 1960s and 70s have witnessed many new developments in the field of pre-Baroque music: some revelatory recordings and concert performances have opened our ears to a new range of possible sound worlds for music of this period, and scholars have made discoveries that in many ways challenge the accepted views about this until recently neglected end of the repertory. Much pre-1600 music, the more so the further we go back in time, sound not only unfamiliar but also strange to modern ears accustomed to the harmonies and rhythms that later came to dominate the Western musical tradition. How to account for this strangeness and how to weave it into our own musical experience are questions that confront us whenever we attempt to draw nearer to the music: its beauty is readily appreciated, but its meaning is often elusive. David Fallows and Tess Knighton, scholars and critics in the field of medieval and Renaissance music, invited a number of international researchers and performers to contribute short essays on some of the most intriguing aspects of the subject. The aim was not so much a comprehensive reference book, although the Glossary gives brief definitions of terms and composer biographies, nor a strictly chronological survey, though the Chronology provides an overview of the main developments of the period, for these basic tools are already available. Rather, the Companion to Medieval and Renaissance Music, spanning over eight centuries of music-making, hopes to broaden and stimulate the reader's interest by discussing issues of live debate such as the original context for the music, how it was composed, and the ways in which it was performed. What was it like to be a composer in the Middle Ages? Can we appreciate the difference between a good and a bad piece of medieval polyphony? Why did certain musical genres flourish and others fall into disuse? What can surviving documents or pictures or the musical manuscripts themselves tell us about how the music was performed, listened to, and appreciated during the period? The essays consider a wide range of the kind of evidence from which scholars and performers have to draw their conclusions and make the decisions that affect the ways in which the music can be brought back to life today. N° de réf. du libraire B9780198165408

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