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Clarifies the conventions governing the practice of implied accidentals in vocal polyphony from the fourteenth to sixteenth centuries.

For more information, see http: //www.corpusmusicae.com/md.htm

Survey of the relationship between music and literature in 14c France, Italy and Britain, with appendix of all songs attributed to Chaucer.

A Performer's Guide to Medieval Music is an essential compilation of essays on all aspects of medieval music performance, with 40 essays by experts on everything from repertoire, voices, and instruments to basic theory. This concise, readable guide has proven indispensable to performers and scholars of medieval music.

Music and Performance in the Later Middle Ages seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers, listeners, and scribes in music-making. By treating the musical manuscripts of the Chantilly Codex and the Oxford manuscript, Canonici misc. 213 not just as scores, but as artifacts of material culture, Elizabeth Randell Upton illustrates how it is possible to recover more evidence about the composition, performance, and consumption of music than has previously been realized.

This book presents the most recent findings of twenty of the foremost European and North American researchers into the music of the Middle Ages. The chronological scope of their topics is wide, from the ninth to the fifteenth century. Wide too is the range of the subject matter: included are essays on ecclesiastical chant, early and late (and on the earliest and latest of its supernumerary tropes, monophonic and polyphonic); on the innovative and seminal polyphony of Notre-Dame de Paris, and the Latin poetry associated with the great cathedral; on the liturgy of Paris, Rome and Milan; on musical theory; on the emotional reception of music near the end of the medieval period and the emergence of modern sensibilities; even on methods of encoding the melodies that survive from the Middle Ages, encoding that makes it practical to apply computer-assisted analysis to their vast number. The findings presented in this book will be of interest to those engaged by music and the liturgy, active researchers and students. All the papers are carefully and extensively documented by references to medieval sources.

This early German 'do-it-yourself' manual tells us about music-making in the years just before the Reformation.

How can an abstract sequence of sounds so intensely express emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music? How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes? In the past ten years, research into the topic of music and emotion has flourished. In addition, the relationship between the two has become of interest to a broad range of disciplines in both the sciences and humanities. The Emotional Power of Music is a multidisciplinary volume exploring the relationship between music and emotion. Bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers, the volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers. In the first section of the book, the authors consider the expression of emotion within music, through both performance and composing. The second section explores how music can stimulate the emotions, considering the psychological and neurological mechanisms that underlie music listening. The third section explores how different societes have sought to manage and manipulate the power of music. The book is valuable for those in the fields of music psychology and music education, as well as philosophy and musicology

Musica Franca: Essays in Honor of Frank A. D'Accone pays tribute to one of the leading scholars of Renaissance music on the occasion of his sixty-?fifth birthday. With an introduction by Lewis Lockwood, the collection of essays is wide-?ranging, a musica franca befitting the interests of the international circles of col'leagues who contributed to this volume. Nino Pirotta opens the section on "Florentine Renaissance," followed by Bonnie J. Blackburn, Anthony M. Cummings, and Francesco Luisi. Music of the Italian Renaissance is the focus of "Archival Studies" and of "Madrigal and Carnival Song," with contributions by Tim Carter, Colleen Reardon, Arnaldo Morelli, James Haar, William F. Prizer, and Dinko Fabris. The essays on "Italian Opera" range from seventeenth ?century Venice (Irene Alm) to eighteenth? century Florence (William C. Holmes), to a comparison of Rossini and Bellini (Paolo Fabbri). Issues of "Performance Practice" in both vocal and instrumental repertoires are examined by Alyson Mdamore, Keith Polk John Walter Hill, and Don Harrán. In "Manuscript Studies," Fabio Carboni Agostino Zino, Jean? Michel Vaccaro, and Richard Charteris analyze primary sources from the fourteenth through the seventeenth centuries. Finally, Daniel Heartz, H. Colin Slim, and Owen Jander explore the relationship between "Music and Image" in sixteenth-century France, seventeenth? century Italy, and Beethoven's Vienna. This impressive collection of essays is a fitting celebration for a noted scholar.

The Sound of Medieval Song is a study of how sacred and secular music was actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period. Detailed descriptions of the types and uses of improvised ornament indicate that in performance the music was highly ornate, and included trill, gliss, reverberation, pulsation, pitch inflection, non-diatonic tones, and cadenza-like passages of various lengths. The treatises also provide evidence of stylistic differences in various geographical locations. McGee draws conclusions about the kind of vocal production and techniques necessary in order to reproduce the music as it was performed during the Middle Ages, aligning the practices much more closely with those of the Middle East than has ever been previously acknowledged.

Lutheran theology and religious practice re-shaped traditions from the ritual heritage of the Medieval Latin Church. Throughout the cultural history of European Lutheran areas, what came to be seen as "the arts" may be discussed in the light of changing Lutheran traditions: the cultural heritage of Martin Luther. This volume presents a collection of 9 essays on Lutheran traditions and the arts within the 500 years since the Reformation, as a special issue of the journal Transfiguration. This issue has been planned in connection with the Tenth International Congress for Luther Research hosted at the Department of Church History, University of Copenhagen.