Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Hall...
Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century h...
The surviving sources of thirteenth-century English polyphony show a greater tolerance of a wide ran...
Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the earl...
From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the ...
The distinction between high and low vocal style in the fourteenth and early Wfteenth centuries once...
was an attempt to create a recorded historical anthology in the 1950s. From the 1930s, similar proje...
The following survey distinguishes three types of music – plainchant, vernacular song, and polyphony...
The appearance of a consistent repertory of polyphonic settings of single vernacular texts, governed...
The Conductus repertory is the body of monophonic and polyphonic non-liturgical Latin song that domi...
The history of polyphonic music in late medieval England is difficult to reconstruct on account of t...
The history of polyphonic music in late medieval England is difficult to reconstruct on account of t...
Today’s performances of medieval polyphony have a lot in common with those of other ‘classical’ or...
The medieval planctus is a Latin lament, composed in great numbers on Biblical themes as well as fo...
Medieval music is difficult. When performed, its harmonies are often pretonal, its rhythms obscure, ...
In addressing questions of compositional process, scholars of medieval polyphony have relatively lit...
Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century h...
The surviving sources of thirteenth-century English polyphony show a greater tolerance of a wide ran...
Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the earl...
From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the ...
The distinction between high and low vocal style in the fourteenth and early Wfteenth centuries once...
was an attempt to create a recorded historical anthology in the 1950s. From the 1930s, similar proje...
The following survey distinguishes three types of music – plainchant, vernacular song, and polyphony...
The appearance of a consistent repertory of polyphonic settings of single vernacular texts, governed...
The Conductus repertory is the body of monophonic and polyphonic non-liturgical Latin song that domi...
The history of polyphonic music in late medieval England is difficult to reconstruct on account of t...
The history of polyphonic music in late medieval England is difficult to reconstruct on account of t...
Today’s performances of medieval polyphony have a lot in common with those of other ‘classical’ or...
The medieval planctus is a Latin lament, composed in great numbers on Biblical themes as well as fo...
Medieval music is difficult. When performed, its harmonies are often pretonal, its rhythms obscure, ...
In addressing questions of compositional process, scholars of medieval polyphony have relatively lit...
Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century h...
The surviving sources of thirteenth-century English polyphony show a greater tolerance of a wide ran...
Despite frequent attempts to explain the emergence of a coherent type of polyphonic song in the earl...