| Series |
Norton introduction to music history.
Norton introduction to music history. ^A638229
|
| Contents |
Historical introduction (to A.D. 1000). The fall of the Roman empire ; The sixth century ; The rise of Islam ; The darkest age ; Revival of the Frankish Kingdom ; he Carolingian Renaissance ; Disintegration of the Carolingian empire -- Christian liturgy to A.D. 1000. o A.D. 300 ; Development of different languages ; Development of western liturgies ; Hispanic or Mozarabic liturgy ; Celtic liturgy ; Gallican liturgy ; The Roman rite from the third to sixth century ; Gregory the Great ; Romano-Frankish liturgy to A.D. 1000 ; The chant between A.D. 800 and 1000 ; The liturgical year and the church calendar ; The proper of the time -- Gregorian chant: general characteristics. Notation ; Guide to the reading of square notation ; Solmization system of Guido d'Arezzo ; The church modes ; The modal system: historical development ; General characteristics of musical style ; Range ; Melodic intervals ; Melodic outlines ; Cadences ; Relation of words to music ; Liturgical recitative ; Psalmody ; Antiphonal psalmody and the psalm tones ; Other tones for psalmodic recitative ; Word accent and melodic line ; The rhythm of Gregorian chant ; Musical expression of the texts ; The music of the offices: Vespers ; The forms of the other day hours. Compline ; Lauds ; The lesser hours. Matins -- Types of free melodies in the offices: The Antiphons ; Great responsories ; The free melodies of the responds ; Short responsories ; Hymns -- The Roman mass. The early form of the mass ; Development of the mass to its completed from about A.D. 1000 ; Proper chants of the mass: form and function ; Antiphonal chants of the proper . Introit ; Offertory ; Communion -- Responsorial chants of the mass. Gradual ; Alleluia ; Tract -- Ordinary of the mass. Kyrie eleison ; Gloria ; Credo ; Sanctus ; Agnus Dei ; Ite, missa est -- Expansion of the liturgy in the later middle ages: tropes and sequences. Tropes. Three classes of tropes ; Class 1 tropes: melismatic additions to exsisting chants ; Class 2 tropes: textual additions to exsisting chants ; Class 3 tropes: additions of text and music to exsisting chants ; Mixed forms of tropes -- The sequence. The early sequence ; Sequentiae with partial texts ; Sequences with double cursus ; Sequences of later periods ; Performance of sequences -- Further expansion and embellishment of the liturgy. New feasts in the later middle ages ; Additions to the mass ; Liturgical drama ; Representative plays from Fleury ; Plays with largely poetic texts ; Plays with largely liturgical texts ; Plays with a mixture of poetic and liturgical texts ; Liturgical dramas and vernacular plays -- The rise of Polyphony. Theoretical descriptions and examples from early polyphony ; Parallel organum ; The Micrologus of Guido d'Arezzo ; Free organum ; Organum in practical sources ; The Winchester tropers ; Melismatic organum of the twelfth century: the school of St. Martial at Limoges ; The two styles of St. Martial polyphony ; Developed-discant style ; Voice exchange ; Historical role of St. Martial polyphony ; Polylphony at Santiago de Compostela ; Discant style in the Compostela repertory -- The school of Notre Dame, I: organum. The music of the Magnus liber organi ; Modal notation and the rhythmic modes ; The six rhythmic modes ; The notation of rhythmic modes ; The plica ; Single notes ; The conjunctura or currentes ; Sustained-note style and modal rhythms ; Discant style and modal rhythms ; Different versions of Alleluia: nativitas ; Organum triplum and quadruplum ; Harmonic structure ; Structural devices in organa tripla and quadrupla -- The school of Notre Dame, II: conductus and motet. The conductus ; Two classes of conducti ; Performance practice and rhythmic interpretation ; Forms and style of simple conducti ; Formal organization in embellished conducti ; Creation of the motet -- Secular monophonic song, I: Latin and Provencal lyrics. Latin songs ; The Cambridge songs ; Wandering scholars, goliards, jongleurs ; The Carmina Burana ; The troubadours ; Types and forms of troubadour poetry ; Dance songs ; Poetic and musical forms of troubadour songs ; Musical forms and styles ; Performance with instrumental accompaniment ; Lives of the troubadors -- Secular monophonic song, II: the music of the Trouveres. Chansons de Geste and related types ; Lais and Descorts ; Other narrative songs ; Refrains ; The rondeau ; The ballade ; The virelai ; General characteristics of trouvere song -- Secular monophonic song, III: Diffusion of vernacular song in other countries of western Europe. Secular song in Germany ; The Minnesingers ; Minnesong in the later thirteenth century and beyond ; Monophonic song in Italy ; Laude spirituali ; The Geisslerlieder ; The Spanish and Galician-Portuguese Cantigas ; Monophonic song in England -- Sacred and secular polyphony in the thirteenth century. Latin and French motets ; Conductus motet ; Polytextual motets ; Rhythmic developments in the later thirteenth century ; From modal to mensural notation ; The motet ente ; Relationships between the motet and secular monophony ; Polyphonic secular songs ; Minor forms and compositional devices ; Hocket ; Rondellus ; Instrumental music ; Instrumental dances -- The ars nova in France. The innovations of Philippe de Vitry ; The Roman de Fauvel ; Isorhythm ; The songs of Jehan de Lescurel ; The Ivrea Codex ; The chace -- Liturgical polyphony in the fourteenth century. Mass movements ; Three styles of polyphonic mass movements ; Motet style ; Song style ; Simultaneous style ; Melismatic movements and hybrid styles ; Mass cycles ; The mass of tournai ; The mass of Toulouse ; The mass of Barcelona ; Musically related mass movements and the Sorbonne mass -- Guillaume de Machaut. The complete works ; The music ; The lais ; Poetic and musical form of the lais ; Melodic and rhythmic style of the lais ; The polyphonic lais ; Complainte and chanson royal ; The motets ; Machaut's isorhythmic structures ; La Messe de Nostre Dame ; Musical forms in the mass-gloria and credo ; The isorhythmic movements ; The David Hocket ; The secular songs ; The ballades ; Poetic and musical form in the ballades ; The rondeaux ; The virelais -- The Italian ars nova. The Italian notational system ; The Rossi Codex and music in northern Italy ; The madrigal ; Poetic and musical forms of the madrigal ; The Caccia ; Caccia texts ; The ballata ; Later sources of Italian polyphony ; The first generation of Trecento composers ; The first generation of Florentine composers ; Second-generation Italian composers - Francesco Landini ; The music of Francesco Landini ; The madrigals ; The ballate ; Nicolo da Perugia ; Barolino da Padova ; Andrea da Firenze ; Paolo Tenorista -- Transition to the renaissance. The Manneristic style of the late fourteenth century ; Rhythmic complexity within the normal mensurations of French notation ; Displacement syncopation ; Proportions ; Composers represented in the Chantilly and Modena manuscripts ; Matteo da Perugia ; Johannes Ciconia ; Ciconia's polyphonic mass movements ; Italian sources of early fifteenth-century music -- An English epilogue. English discant ; The old hall manuscript ; Diverse styles in the Old Hall repertory-English discant ; Mass movements not written in score ; Mass movements in song style ; Mass movements in motet style ; Isorhythmic mass movements in motet style ; Canonic mass movements ; Foreign influences on the old hall repertory ; Leonel and Dunstable. |
| Abstract |
This book surveys the history and development of music in the Western world from its roots in early Christian liturgy up to the initial glimmerings of the Renaissance in the fifteenth century. Hoppin considers the sources and uses of monophonic chant, the development of increasingly complex polyphony, and the earliest surviving examples of secular songs and dances. Covering both national styles and major composers, this book provides a thorough overview of music's earliest recorded history. A companion anthology is available that includes scores for many of the examples discussed in the book. This is a volume from The Norton Introduction to Music History, presenting the music of the Western world to the nonspecialist in six volumes. In each one, an outstanding musicologist surveys the music of a specific period, discusses its major composers, and examines the forces that influenced and helped shape their works. The series is part of the tradition of excellence in musical scholarship that Norton has established in this field. |
| Local note | Little-259417 |
| Bibliography note | Includes bibliographical references (pages 531-551) and index. |
| LCCN | 78007010 |
| ISBN | 0393090906 |
