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Et depuis longtemps, des romantiques aux slameurs d'aujourd'hui les troubadours nous interrogent encore."--Page 4 of cover.
This volume contains full-color facsimiles of manuscript examples of polyphony as it flourished in England during the time of Henry III and Edward I.
Composing the World charts one constellation of musical metaphors, analogies, and expressive modalities embedded within a late-ancient and medieval cosmological discourse: that of a cosmos animated and choreographed according to a specifically musical aesthetic.
The specific historical terrain of Hicks' discussion centers upon the world of twelfth-century philosophy, and from there he offers a new intellectual history of the role of harmony in medieval cosmological discourse, a discourse which itself focused on the reception and development of Platonism.
Katie Ann-Marie Bugyis is Assistant Professor of Religious Studies at St.
Martin's University; Margot Fassler is Kenough-Hesburgh Professor of Music History and Liturgy at the University of Notre Dame and Robert Tangeman Professor Emerita of Music History at Yale University; A. Kraebel is Assistant Professor of English at Trinity University.
For much of the twentieth century, research on medieval music had focused on the discovery and evaluation of musical and theoretical sources.
Colton challenges the way in which the concept of a canon of English music has been built around a handful of pieces, composers and practices, each of which offers opportunities for a reappraisal of English musical and devotional cultures between 12.This edition presents for the first time the complete music of the Beneventan rite, the repertory of Latin plainchant sung in southern Italy around the turn of the ninth century, prior to the adoption of Gregorian repertory.180 different melodies are included, all in Beneventan neume notation.Ce sont des oeuvres chantées, abordant tous les sujets avec une réflexion intense, qui répandent dans les cours des idées nouvelles et bouleversent les codes établis.
De Dante Alighieri à la philosophe Simone Weil, ils sont nombreux ceux qui seront interpellés par ce Trobar des XIIe-XIIIe siècles.
Although medieval English music has been relatively neglected in comparison with repertoire from France and Italy, there are few classical musicians today who have not listened to the thirteenth-century song 'Sumer is icumen in', or read of the achievements and fame of fifteenth-century composer John Dunstaple.