| Series |
Norton introduction to music history
Norton introduction to music history. ^A638229
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| Contents |
Part 1. The 1380s to the 1420s. Included: Brassart ; Ciconia ; B. Cordier ; Du Fay ; Dunstable ; Grenon ; Power ; Solage ; Zacharias De Teramo -- The "English sound". Anglo-continental contacts ; Other English features ; A Dunstable work in detail ; The carol -- Intermedio: 1414-1418 -- The Low Countries. The French Ars Nova ; The new Central Tradition ; Musical training ; Johannes Ciconia ; The significance of the Low Countries -- Editing a chanson: the notation -- |
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Part 2. The 1420s to the 1460s. Included: Binchois ; Du Fay ; Feragut ; Franchois ; A. De Lantins ; H. De Lantins ; Power -- French secular song. The formes fixes I ; Aspects of the poetry ; Du Fay's musical style ; Performance practice ; Gilles de Bins (dit Binchois) -- Intermedio: 1424-1428 -- The old motet and the new. Definitions ; An isorhythmic motet: Du Fay's Nuper rosrum flores ; Mode and polyphony ; A "tenor" motet: Du Fay's Ave regina caelorum (III) ; Du Fay's life -- Learning from documents: payroll and inventory notices -- The cyclic mass and vespers. The structure of the mass ; The fourteenth-century legacy ; The early fifteenth century ; The cyclic cantus-firmus mass: the English contribution ; Du Fay's Cantus-firmus cycles ; A fictive composition manual ; Why the cyclic cantus-firmus mass? ; Proper and plenary cycles ; Music for the vespers service ; Liturgical books ; The liturgical calendar ; Performance practice -- Intermedio: 1453-1454 -- |
| Contents |
Part 3. The 1450s to the 1480s. Included: Bedyngham ; Busnoys ; Caron ; Cornago ; Domarto ; Faugues ; Frye ; Guglielmo Ebreo ; Hayne Van Ghizeghem ; Martini ; Morton ; Ockeghem ; Paumann ; Ramos de Pareja ; Regis ; Serafino Dall'Aquila ; Tinctoris ; Touront ; Vincenet -- Toward abstraction in mass and motet. Artifice and complexity I ; The L'homme armé tradition ; Antoine de Busne (dit Busnoys) ; Artifice and complexity II ; Johannes Ockeghem ; Some important music manuscripts ; Artifice and complexity III ; Ockeghem's style ; Artifice and complexity IV ; The five-voice tenor motet ; Two problematic biographies -- Learning from documents: an ecclesiastical notice -- The patronage of music. The chapels ; The singers ; The patrons -- More secular song. The formes fixes II ; The combinative chanson ; The "hit parade" ; The chansonniers ; England, Germany, and Spain ; Italy -- Intermedio: 1467-1469 -- Instrumental music and two theorists. Keyboard music ; Instrumental ensemble music ; Dance music ; Postscript: Two theorists -- Editing a chanson: Musica ficta -- |
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Part 4. The 1470s to the 1520s. Included: Agricola ; Brumel ; Cara ; Compère ; Coppini ; Dalza ; Encina ; Escobar ; Févin ; Finck ; Ghiselin ; Hofhaimer ; Isaac ; Josquin ; La Rue ; Mouton ; Ninot le Petit ; Obrecht ; Petrucci ; Pisano ; Richafort ; Schlick ; Spinacino ; Tromboncino ; Weerbeke -- Inventions in style and transmission. Pervading imitation ; New relationships between voices ; Josquin Desprez ; Music and the printing press -- Intermedio: 1492 -- The virtuoso motet. Music and text ; Canons ; Symbolism ; The function of the Motet -- Editing a chanson: text underlay -- Continuity and transformation in the mass. The heart of the tradition ; Masses built on multiple cantus firmi ; Three local mass types ; Performance practice -- Intermedio: 1513-1521 -- Old ends and new beginnings in song. The end of the formes fixes ; The courtly tradition continued ; The popular tradition ; Josquin and the popular tradition ; Italy ; Spain ; Germany -- Instrumental music. Ensemble music ; The ensembles ; Keyboard music ; Lute music ; A trumpet manufacturer -- |
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Part 5. The 1520s to the 1550s. Included: Arcadelt ; Attaingnant ; Berchem ; Browne ; Buus ; Cabezón ; G. Cavazzoni ; Claudin De Sermisy ; Clemens Non Papa ; Cornysh ; Crecquillon ; Fayrfax ; Festa ; Francesco Da Milano ; A. Gabrieli ; Gero ; Gervaise ; Gombert ; Goudimel ; Jacquet of Mantua ; Janequin ; Julio Segni ; Ludford ; Merulo ; Milán ; Morales ; Narváez ; Nola ; Passereau ; Pellegrini ; Redford ; Sachs ; Senfl ; Taverner ; Tye ; Verdelot ; Walter ; Willaert -- The Catholic church and its music. The motet ; Music for the mass ; Vespers psalms for cori spezzati ; The use of scores -- National song styles. The chanson ; The madrigal ; The lied -- Intermedio: 1533-1536 -- The growth of music printing. Printers ; Composers ; Consumers -- Editing a chanson: barring, sources, critical report -- Instrumental music to the end of the century. Transcriptions based on vocal models ; Settings of chant melodies ; Variations ; Performance practice ; The ricercar ; The canzona ; Preludes and toccatas ; Dance music -- Intermedio: 1543-1547 -- The Protestant Reformation. Luther ; Zwingli ; Calvin ; The Dutch Souterliedekens -- Early Tudor England. The Tudor dynasty ; Secular song at the court of Henry VIII ; Pre-reformation sacred music: the Eton Choirbook ; The mass between Eton and the reformation ; Faburdens and squares ; The English reformation ; Music for the Anglican church -- |
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Part 6. The 1550s to c. 1600. Included: Bull ; Byrd ; Casulana ; Dowland ; Farnaby ; Ferrabosco ; G. Gabrieli ; Galilei ; Gastoldi ; Gesualdo ; Glarean ; Kerle ; Lassus ; Le Jeune ; Luzzaschi ; Marenzio ; Monteverdi ; Morley ; Mundy ; Palestrina ; Rore ; Ruffo ; Tallis ; Vecchi ; Vicentino ; Victoria ; Weelkes ; Wert ; Wilbye ; Zarlino -- Music theory. Glarean [Glareanus] and the modes ; Vicentino and chromaticism ; Zarlino and counterpoint -- Intermedio: 1560-1562 -- The counter-reformation in Italy and Spain. The council of Trent I ; Palestrina ; The council of Trent II ; Venice ; Spain ; Performance practice -- Music in the service of words. Antiquarianism ; Lassus ; The Italian madrigal ; The lighter forms ; The Ladies of Ferrara ; Talking about music -- Intermedio: 1588-1590 -- Elizabethan England. The late Tudors: Mary and Elizabeth ; The centralization of music ; Latin church music ; Music for the Anglican church ; Secular song ; Instrumental music. |
| Abstract |
This book, a textbook for today's classroom, focuses first and foremost on the music, then on the social, political, and economic forces that combined to produce it. Readers are immediately drawn into the subject through the author's vivid, energetic writing. He addresses the student directly, in language that is clear and understandable even when it treats complex topics such as isorhythm and hexachords. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 97019816 |
| ISBN | 0393971694 |
