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LEADER 08272cam 22003738a 4500
001
ocm21675373
005
20141212081943.0
008
900511s1990 nyuag b 001 0 eng
010
a| 90038155
020
a| 002872951X :
c| $29.95
035
a| (Sirsi) o21675373
035
a| (OCoLC)21675373
040
a| DLC
c| DLC
d| ERE
d| UtOrBLW
049
a| EREM
050
0
0
a| ML172
b| .W6 1990
082
0
0
a| 780/.9/02
2| 20
100
1
a| Wilson, David Fenwick.
=| ^A264033
245
1
0
a| Music of the Middle Ages :
b| style and structure /
c| David Fenwick Wilson.
260
a| New York :
b| Schirmer Books ;
a| London :
b| Collier Macmillan,
c| ©1990.
300
a| xxii, 403 pages :
b| illustrations, maps, music ;
c| 25 cm +
e| 2 audiocassettes
336
a| text
2| rdacontent
337
a| unmediated
2| rdamedia
338
a| volume
2| rdacarrier
504
a| Includes bibliographical references and index.
505
0
0
g| Part 1.
t| The Carolingina era 800-1150.
t| Roman-Gallican chant.
H| istorical background ;
t| The Byzantine empire ;
t| The papacy ;
t| The Frankish kingdom ;
t| The Frankish-papal alliance ;
t| Charlemagne --
t| Music in the western church.
t| Roman and Gallican chant ;
t| Roman-Gallican chant --
t| Melodic and rhythmic characteristics.
t| Meoldy ;
t| Rhythm --
t| The tonal system and the modes.
t| The Oktoechoes ;
t| Western modality ;
t| Melody types ;
t| The tonal system ;
t| Modality in practice --
t| Notation.
t| The sources ;
t| Other chant repertoires ;
t| Ambrosian ;
t| Mozarabic ;
t| Old Beneventan ;
t| Old Roman --
t| Practicum: modern chant notation --
t| Liturgy and Chant.
t| The divine offices ;
t| Rhymed offices ;
t| The mass ;
t| The chants of the mass proper and the offices ;
t| Liturgical recitative and psalmody ;
t| Antiphonal chants ;
t| Responsorial chants ;
t| Tract ;
t| Special antiphons ;
t| Hymns --
t| The chants of the ordinary of the mass ;
t| Symmetrical texts ;
t| The prose texts ;
t| The dismissal formulas --
t| Practicum: Plainchant analysis --
t| Medieval chant.
t| Organization and structure ;
t| The chants of the ordinary ;
t| Embellishments of the liturgy ;
t| The sequence ;
t| Liturgical drama --
t| Modal theory ;
t| Evolving modal theory ;
t| The fully developed theory --
t| Notation --
t| Teaching aids ;
t| The hexachords and solmization ;
t| The gamut ;
t| The hand --
t| Practicum: singing with the hexachords.
t| Early polyphony.
t| Parallel orgtanum --
t| Oblique organum --
t| The sources --
t| Practicum: composition and improvisation ;
t| Parallel organum ;
t| Oblique organum --
g| Part II.
t| The flowering of style 1050-1250.
t| Free organum.
t| Style ;
t| Stylistic concepts ;
t| The changing place of polyphony in the service ;
t| Theoretical concepts ;
t| The organum modes --
t| Consonance and dissonance ;
t| The medieval system of classification ;
t| The individual intervals --
t| Historical considerations --
t| Practicum: composition of free organum.
t| The sacred music of southern France.
t| The sources --
t| The monophonic versus ;
t| Poetic structure ;
t| Texture and phrase structure ;
t| Tonal structure and mode --
t| The polyphonic versus ;
t| Syllabic style ;
t| The florid and melismatic styles ;
t| Underlying structure ;
t| Neume-against-neume melisma --
t| Tonal organization ;
t| Successive composition ;
t| Versus in G ;
t| Versus in D --
t| Cantus firmus settings --
t| Rhythm --
t| Practicum 1: poetic analysis --
t| Practicum 2: composition in the florid style --
t| Secular monophonic music.
t| Southern France: the troubadours ;
t| Courtly love ;
t| The sources ;
t| The poetry ;
t| Musical style ;
t| Musical form ;
t| Rhythm --
t| Northern France: the trouveres ;
t| The sources ;
t| The poetry ;
t| Musical style ;
t| Notation and tonality --
t| Monophonic song outside of France ;
t| Germany ;
t| Spain ;
t| Italy ;
t| England --
t| Other polyphonic styles.
t| The liber sancti jacobi ;
t| Conductus ;
t| Cantus firmus settings ;
t| Three-voiced composition --
t| Primitive polyphony --
t| Historical considerations --
t| Sacred music in Paris.
t| The music of Notre Dame ;
t| The sources --
t| The development of rhythm ;
t| The first stages ;
t| The rhythmic organization of the tenor ;
t| The rhythm of the upper voices ;
t| The ordo --
t| Notation --
t| Organa dupla ;
t| General styles ;
t| Alleluia: adorabo ad templum --
t| Organa tripla and quadrupla ;
t| Sonorities ;
t| Tonal structure --
t| Monophonic conductus ;
t| Musical style ;
t| The rondellus/rondeau --
t| The polyphonic conductus ;
t| Musical style --
t| Polyphonic techniques ;
t| Literal repetition ;
t| Repetition with open and closed endings ;
t| Repetition in one voice ;
t| Repetition with voice exchange ;
t| Melodic sequence ;
t| Motivic interchange and interrelationships ;
t| Imitation and canon ;
t| Modal transmutation ;
t| Hocket --
t| The rhythmic context of Parisian Polyphony --
g| Part III.
t| The era of the motet 1200-1400.
t| The Early Motet (ca. 1200-1270).
t| Definitions --
t| The sources --
t| Notation --
t| Chronological development ;
t| The trope-oriented motet ;
t| The independent motet ;
t| Midcentury styles --
t| Form and style ;
t| Rhythmic style ;
t| Melodic style ;
t| Voice relationships ;
t| Harmonic style ;
t| Tonality --
t| The texts --
t| Practicum: composition of the motet-style midthirteenth-century discant.
t| The continental motet of the late thirteenth century (ca. 1270-1300).
t| Mensural rhythm ;
t| Franconian rhythm ;
t| Petronian Rhythm ;
t| Conservative rhythmic style --
t| Isomelic structure --
t| Secular tenors --
t| Musical style ;
t| Voice relationships ;
t| Sonorities ;
t| Harmonic rhythm ;
t| Tonality --
t| The texts --
t| The hocket.
t| The English motet (ca. 1250-1350).
t| The English concept of motet ;
t| The cantus firmus motets ;
t| The troped chant settings ;
t| Motets on a pes --
t| Structural techniques ;
t| Isoperiodicity ;
t| Isomelism ;
t| Voice exchange --
t| Tonal concepts ;
t| Tonal unity ;
t| Sonorities --
t| The sources --
t| Notation ;
t| Modal notation ;
t| English mensural notation ;
t| Franconian notation ;
t| Circle-stem notation ;
t| Breve-semibreve notation --
t| Musical style ;
t| Range ;
t| Four-voice idioms --
t| The texts.
t| The continental motet in the fourteenth century.
t| The sources --
t| The composers --
t| Notation ;
t| Red notation --
t| Isorhythm ;
t| The isorhythmic tenor ;
t| Isoperiodicity ;
t| Upper-voice isorhythm ;
t| The introitus --
t| Musical style ;
t| Range and voice relationships ;
t| Harmonic rhythm ;
t| Melodic style ;
t| Sonorities ;
F| our-voice writing ;
t| The solus tenor --
t| The texts --
t| The motet in Italy --
t| A fifteenth-century epilogue --
t| Practicum: isorhythmic motet analysis.
t| Fourteenth-century polyphonic mass movements.
t| Musical style ;
t| Motet style ;
t| Song style ;
t| The simultaneous style --
t| Mass cycles --
t| The English cantilena.
g| Part IV.
t| The polyphonic song 1330-1400.
t| Polyphonic song in fourteenth-century France.
t| The sources ;
t| Repertoire ;
t| Notation --
t| The forms ;
t| The virelai ;
t| The rondeau ;
t| The ballade ;
t| The lai ;
t| The chace --
t| Melody ;
t| Syllabic and near-syllabic melody ;
t| Melismatic melody --
t| Polyphonic techniques ;
t| Two-voice framework ;
t| Three- and four-voice writing ;
t| Displacement technique --
t| Tonality ;
t| Relationship of ouvert and clos ;
t| Polyphonic cadence structure --
t| Text-music relationships --
t| Ars subtilior ;
t| Musical style ;
t| Discant ;
t| Partial signatures ;
t| Notation --
t| Practicum: composition in fourteenth-century song style.
t| Polyphonic song in fourteenth-century Italy.
t| The sources --
t| Notation --
t| The composers ;
t| The first generation ;
t| The second generation --
t| The forms ;
t| The madrigal ;
t| The caccia ;
t| The ballata --
t| Melody --
t| Polyphonic structure ;
t| Two-voice composisiton ;
t| Three-voice composition using canon ;
t| Three-voice composition without canon --
t| Tonality --
t| The end of an era.
t| An instrumental postscript.
t| Secular music ;
t| Instruments in secular monophony ;
t| Instruments in secular polyphony --
t| Sacred music.
520
a| Music of the Middle Ages provides a comprehensive, chronological survey of musical style and compositional technique from early plainchant to the flourishing of fourteenth-century polyphony.
650
0
a| Music
y| 500-1400
x| History and criticism.
=| ^A177511
650
0
a| Style, Musical.
=| ^A20000
650
0
a| Music theory
x| History
y| 500-1400.
=| ^A520617
919
a| BOOK
596
a| 3
998
a| 378522
999
a| ML172 .W6 1990
w| LC
c| 1
i| 30372005741902
d| 12/6/2021
e| 12/3/2021
f| 6/21/2018
g| 4
l| MCOS
m| JMUSIC
n| 158
q| 4
r| Y
s| Y
t| MCOSBK
u| 2/26/1991
x| BOOK
z| MCIRC
o| .STAFF.
999
a| ML172 .W6 1990
w| LC
c| 2
i| 30372017167716
d| 5/6/2021
e| 2/19/2021
l| MST
m| JMUSIC
n| 1
r| Y
s| Y
t| MGESBK
u| 1/22/2020
x| BOOK
z| MCIRC
o| .STAFF. jjab