Böcker i Studies in Medieval and Renaissance Music-serien

Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.

The Codex Buranus, compiled, in all likelihood, in South Tyrol in the first half of the thirteenth century, has fascinated modern scholars and performers ever since its rediscovery in 1803. Its diverse range of texts (some famously featuring in Carl Orff's Carmina Burana) and music gives testimony to the intensely vibrant, plurilingual, and multicultural milieu in which the Codex Buranus was compiled, but poses a challenge to modern users. Perhaps more so than many other medieval manuscripts, it is an artefact which demands, and benefits from, an interdisciplinary approach. The chapters here, from scholars in a variety of fields, enable the less well-known aspects of the Codex Buranus; textual, musical, and artistic; to receive greater scrutiny, and bring new perspectives to bear on the more thoroughly explored parts of the manuscript. Making accessible existing discourse and encouraging fresh debates on the codex, the essays advocate fresh modes of engagement with its contents, contexts, and composition. They also examine questions of its reception history and audience. TRISTAN E. FRANKLINOS is a British Academy Postdoctoral Fellow at the University of Oxford, and a Junior Research Fellow of Trinity College, Oxford. HENRY HOPE has taught at the universities of Oxford and Bern; his research centres on the musical aspects of Minnesang. Contributors: Gundela Bobeth, Charles E. Brewer, Carmen Cardelle de Hartmann, Albrecht Classen, Johann Drumbl, Tristan E. Franklinos, Peter Godman, Henry Hope, Racha Kirakosian, Heike Sigrid Lammers-Harlander, Jonathan Seelye Martin, Michael Stolz, David A. Traill, Kirsten Yri.

Essays on important topics in early music.Christopher Page is one of the most influential and distinguished scholars and performers of medieval music. His first book, Voices and Instruments of the Middle Ages (1987), marked the beginning of what might be called the"e;Page turn"e; in the study and performance of medieval music. His many subsequent publications, radio broadcasting (notably the series Spirit of the Age) and performances and recordings with his ensemble Gothic Voices changed the perception of and thinking about music from before about 1400 and forged new ways of communicating its essence to scholars as well as its subtle beauty to wider audiences. The essays presented here in his honour reflectthe broad range of subject-matter, from the earliest polyphony to the conductus and motet of the thirteenth and fourteenth centuries, the troubadour and trouvere repertories, song and dance, church music, medieval music theory, improvisation techniques, historiography of medieval music, musical iconography, instrumental music, performance practice and performing, that has characterised Page's major contribution to our knowledge of music of the Middle Ages. TESS KNIGHTON is an ICREA Research Professor affiliated to the Institucio Mila i Fontanals-CSIC in Barcelona and an Emeritus Fellow of Clare College, Cambridge; DAVID SKINNER is Fellow and Osborn Director of Music at Sidney Sussex College, Cambridge, and director of the early music ensemble Alamire. Contributors: Elizabeth Aubrey, Anna Maria Busse Berger, John Caldwell, Alice V. Clark, Lisa Colton, Lawrence Earp, Mark Everist, David Fallows, Manuel Pedro Ferreira, Andrew Kirkman, Elizabeth Eva Leach, Marc Lewon, Jeremy Montagu, Keith Polk, Reinhard Strohm, Rob C. Wegman, Crawford Young For any queries regarding the completion and/orreturn of the Tabula Gratulatoria form below, please contact Elizabeth McDonald (emcdonald@boydell.co.uk)

Shows how Charles V used music and ritual to reinforce his image and status as the most important and powerful sovereign in Europe.The presentation of Charles V as universal monarch, defender of the faith, magnanimous peacemaker, and reborn Roman Emperor became the mission of artists, poets, and chroniclers, who shaped contemporary perceptions of him and engaged in his political promotion. Music was equally essential to the making of his image, as this book shows. It reconstructs musical life at his court, by examining the compositions which emanated from it, the ordinances prescribing its rituals and ceremonies, and his prestigious chapel, which reflected his power and influence. A major contribution, offering new documentary material and bringing together the widely dispersed information on the music composed to mark the major events of Charles's life. It offers.a very useful insight into music as one of many elements that served to convey the notion of the emperor-monarch in the Renaissance. TESS KNIGHTON Mary Ferer is Associate Professor at the College of Creative Arts, West Virginia University.

First full-length consideration of the role played by young singers, bringing out its full significance and its development over time.Young singers played a central role in a variety of religious institutional settings: urban cathedrals, collegiate churches, monasteries, guilds, and confraternities. The training of singers for performance in religious services was so crucial as to shape the very structures of ecclesiastical institutions, which developed to meet the need for educating their youngest members; while the development of musical repertories and styles directly reflected the ubiquitous participation of children's voices in both chant and polyphony. Once choristers' voices had broken, they often pursued more advanced studies either through an apprenticeship system or at university, frequently with the help of the institutions to which they belonged. This volume provides the first wide-ranging book-length treatment of the subject, and will be of interest to music historians - indeed, all historians - who wish to understand the role of the young in sacred musical culture before 1700. SUSAN BOYNTON is Associate Professor of Historical Musicology at Columbia University; ERIC RICE is Assistant Professor of Music at the University of Connecticutat Storrs. CONTRIBUTORS: SUSAN BOYNTON, SANDRINE DUMONT, JOSEPH DYER, JANE FLYNN, ANDREW KIRKMAN, NOEL O'REGAN, ALEJANDRO PLANCHART, RICHARD RASTALL, COLLEEN REARDON, ERIC RICE, JUAN RUIZ JIMENEZ, ANNE BAGNALL YARDLEY

A comprehensive survey of the music of Cristobal de Morales, the leading Spanish composer of his time.

Detailed exploration of an enigmatic manuscript containing the texts to hundreds of songs, but no musical notation.

The exciting discovery of new music from the Middle Ages sheds new light on knowledge of the medieval motet.

A sensitive and detailed investigation of the complex relationship between text and music in medieval chant.

Analysis of Latin sacred music written during the century illustrates the rapid and marked change in style and sophistication.

An authoritative survey of music and its context in the Renaissance.

Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.

A study of one of the most significant medieval manuscripts containing music, and its owner, sheds light on many aspects of contemporary culture.

First full monograph to focus entirely on the English-language songs set to music by Byrd.

Essays illuminating a complex and sophisticated musical manuscript.

Music and musical entertainments are here shown to be used for different ends, by both monarch and courtiers.

The complex relationship between myths and music is here investigated.

First full comprehensive guide to one of the most important genres of music in the Middle Ages.

The final section of the Montpellier Codex analysed in full for the first time, with major implications for late-medieval music.