Name: Revisiting the Music of Medieval France: From Gallican Chant to Dufay (en Inglés)
Price: 556756.00 COP
Availability: InStock
Author: Ferreira, Manuel Pedro
ISBN: 9781409436812

portada Revisiting the Music of Medieval France: From Gallican Chant to Dufay (en Inglés)

Formato

Libro Físico

Autor

Manuel Pedro Ferreira

Editorial

Routledge

Idioma

Inglés

N° páginas

304

Encuadernación

Tapa Dura

Peso

0.65 kg.

ISBN

1409436810

ISBN13

9781409436812

Categorías

Música sacra y religiosa
Historia de la humanidad

Revisiting the Music of Medieval France: From Gallican Chant to Dufay (en Inglés)

Manuel Pedro Ferreira (Autor) · Routledge · Tapa Dura

Libro Físico

$ 556.756

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Origen: Reino Unido (Costos de importación incluídos en el precio)

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Reseña del libro "Revisiting the Music of Medieval France: From Gallican Chant to Dufay (en Inglés)"

This book presents together a number of path-breaking essays on different aspects of medieval music in France written by Manuel Pedro Ferreira, who is well known for his work on the medieval cantigas and Iberian liturgical sources. The first essay is a tour-de-force of detective work: an odd E-flat in two 16th-century antiphoners leads to the identification of a Gregorian responsory as a Gallican version of a seventh-century Hispanic melody. The second rediscovers a long-forgotten hypothesis concerning the microtonal character of some French 11th-century neumes. In the paper "Is it polyphony?" an even riskier hypothesis is arrived at: Do the origins of Aquitanian free organum lie on the instrumental accompaniment of newly composed devotional versus? The Cistercian attitude towards polyphonic singing, mirrored in musical sources kept in peripheral nunneries, is the subject of the following essay. The intellectual and sociological nature of the Parisian motet is the central concern of the following two essays, which, after a survey of concepts of temporality in the trouvère and polyphonic repertories, establish it as the conceptual foundation of subsequent European schools of composition. It is possible then to assess the real originality of Philippe de Vitry and his Ars nova, which is dealt with in the following chapter. A century later, the role of Guillaume Dufay in establishing a chord-based alternative to contrapuntal writing is laboriously put into evidence. Finally, an informative synthesis is offered concerning the mathematical underpinnings of musical composition in the Middle Ages.