The Calligraphy of Medieval Music

The Calligraphy of Medieval Music treats the practical aspects of the book making and music writing trades in the Middle Ages.

Author: John Dickinson Haines

Publisher: Brepols Pub

ISBN: 2503540058

Category: Art

Page: 276

View: 820


The Calligraphy of Medieval Music treats the practical aspects of the book making and music writing trades in the Middle Ages. It covers most major regions of music writing in medieval Europe, from Sicily to England and from Spain to the eastern Germanic regions. Specific issues raised by the contributors include the pricking and ruling of books; the writing habits of scribes and their reliance on memory; the cultural influence of monastic orders such as the Carthusians; graphic variants between regional styles of music notation ranging from tenth-century Saint-Gall to sixteenth-century Cambrai; and the impact of print on late medieval notation. The volume opens with a few essays dealing with general issues such as page layout and manuscript production both in and out of medieval Europe. The second part of the book covers early music notations from the tenth and eleventh centuries, and the third part, the twelfth to the sixteenth centuries. John Haines is Associate Professor of Music and Medieval Studies at the University of Toronto where he holds a Canada Research Chair. He is the author of Eight Centuries of Troubadours and Trouveres (2004), Satire in the Songs of Renart le nouvel (2009) and Medieval Song in Romance Languages (2010), as well as the co-editor with Randall Rosenfeld of Music and Medieval Manuscripts: Paleography and Performance (2004). He has also published numerous articles in such periodicals as Scriptorium and Early Music History. In Toronto, he directs the research project Nota Quadrata. With Contributions written by: Giacomo Baroffio, Anna Maria Busse Berger, Olivier Cullin, Albert Derolez, Jean-Luc Deuffic, Lawrence Earp, Margot Fassler, Barbara Haggh-Huglo, Getatchew Haile, John Haines, David Hiley, Michel Huglo, Rankin, Susana Zapke.

Manuscripts and Medieval Song

In The Calligraphy of Medieval Music, ed. John Haines. Turnhout: Brepols, 223–40. Edwards, Cyril. 2000. 'The German Texts in the Codex Buranus'. In The Carmina Burana: Four Essays, ed. Martin H. Jones. London: King's College, 41–70.

Author: Helen Deeming

Publisher: Cambridge University Press

ISBN: 9781107062634

Category: Music

Page: 324

View: 509


This in-depth exploration of key manuscript sources reveals new information about medieval songs and sets them in their original contexts.

A Material History of Medieval and Early Modern Ciphers

Journal of Plainsong and Medieval Music 12 (2003): 129–164. ———. “On Ligaturæ and Their Properties: Medieval Music Notation as Esoteric Writing.” In The Calligraphy of Medieval Music, edited by John Haines, 213–220.

Author: Katherine Ellison

Publisher: Routledge

ISBN: 9781351973083

Category: Literary Criticism

Page: 286

View: 285


The first cultural history of early modern cryptography, this collection brings together scholars in history, literature, music, the arts, mathematics, and computer science who study ciphering and deciphering from new materialist, media studies, cognitive studies, disability studies, and other theoretical perspectives. Essays analyze the material forms of ciphering as windows into the cultures of orality, manuscript, print, and publishing, revealing that early modern ciphering, and the complex history that preceded it in the medieval period, not only influenced political and military history but also played a central role in the emergence of the capitalist media state in the West, in religious reformation, and in the scientific revolution. Ciphered communication, whether in etched stone and bone, in musical notae, runic symbols, polyalphabetic substitution, algebraic equations, graphic typographies, or literary metaphors, took place in contested social spaces and offered a means of expression during times of political, economic, and personal upheaval. Ciphering shaped the early history of linguistics as a discipline, and it bridged theological and scientific rhetoric before and during the Reformation. Ciphering was an occult art, a mathematic language, and an aesthetic that influenced music, sculpture, painting, drama, poetry, and the early novel. This collection addresses gaps in cryptographic history, but more significantly, through cultural analyses of the rhetorical situations of ciphering and actual solved and unsolved medieval and early modern ciphers, it traces the influences of cryptographic writing and reading on literacy broadly defined as well as the cultures that generate, resist, and require that literacy. This volume offers a significant contribution to the history of the book, highlighting the broader cultural significance of textual materialities.

The Routledge History of Medieval Magic

51 “On Ligaturæ and Their Properties: Medieval Music Notation as Esoteric Writing” in The Calligraphy of Medieval Music, ed. Haines (Turnhout: Brepols, 2011), 203–22. 52 Haines, “Why Music and Magic,” 159–64.

Author: Sophie Page

Publisher: Routledge

ISBN: 9781317042754

Category: History

Page: 550

View: 686


The Routledge History of Medieval Magic brings together the work of scholars from across Europe and North America to provide extensive insights into recent developments in the study of medieval magic between c.1100 and c.1500. This book covers a wide range of topics, including the magical texts which circulated in medieval Europe, the attitudes of intellectuals and churchmen to magic, the ways in which magic intersected with other aspects of medieval culture, and the early witch trials of the fifteenth century. In doing so, it offers the reader a detailed look at the impact that magic had within medieval society, such as its relationship to gender roles, natural philosophy, and courtly culture. This is furthered by the book’s interdisciplinary approach, containing chapters dedicated to archaeology, literature, music, and visual culture, as well as texts and manuscripts. The Routledge History of Medieval Magic also outlines how research on this subject could develop in the future, highlighting under-explored subjects, unpublished sources, and new approaches to the topic. It is the ideal book for both established scholars and students of medieval magic.

A Critical Companion to Medieval Motets

In S. Clark and Leach 2005, 102–22. Woodbridge. ——. 2011. 'Interpreting the Deluxe Manuscript: Exigencies of Scribal Practice and Manuscript Production in Machaut'. In The Calligraphy of Medieval Music, ed.

Author: Jared C. Hartt

Publisher: Boydell & Brewer

ISBN: 9781783273072


Page: 397

View: 699


First full comprehensive guide to one of the most important genres of music in the middle ages.

Understanding Medieval Liturgy

'adémar de Chabannes (989–1034) and Musical literacy'. ... The Musical World of a Medieval Monk: Adémar de Chabannes in Eleventh-Century Aquitaine. ... The Calligraphy of Medieval Music. turnhout: Brepols, 2011. Haines, John.

Author: Helen Gittos

Publisher: Taylor & Francis

ISBN: 9781134797608

Category: History

Page: 352

View: 561


This book provides an introduction to current work and new directions in the study of medieval liturgy. It focuses primarily on so-called occasional rituals such as burial, church consecration, exorcism and excommunication rather than on the Mass and Office. Recent research on such rites challenges many established ideas, especially about the extent to which they differed from place to place and over time, and how the surviving evidence should be interpreted. These essays are designed to offer guidance about current thinking, especially for those who are new to the subject, want to know more about it, or wish to conduct research on liturgical topics. Bringing together scholars working in different disciplines (history, literature, architectural history, musicology and theology), time periods (from the ninth to the fifteenth centuries) and intellectual traditions, this collection demonstrates the great potential that liturgical evidence offers for understanding many aspects of the Middle Ages. It includes essays that discuss the practicalities of researching liturgical rituals; show through case studies the problems caused by over-reliance on modern editions; explore the range of sources for particular ceremonies and the sort of questions which can be asked of them; and go beyond the rites themselves to investigate how liturgy was practised and understood in the medieval period.

Musical Notation in the West

Barbara Haggh, in The Calligraphy of Medieval Music, ed. Haines, pp. 163–71. “Observations codicologiques sur l'antiphonaire de Compiègne (Paris, B.N. lat. 17436),” in De musica et cantu, ed. Cahn and Heimer, pp. 117–30.

Author: James Grier

Publisher: Cambridge University Press

ISBN: 9780521898164

Category: Music

Page: 225

View: 647


A detailed critical and historical investigation of the development of musical notation as a powerful system of symbolic communication.

Music and the moderni

In The Calligraphy of Medieval Music, ed. John Haines, 241–52. Musicalia medii aevi 1. Turnhout: Brepols, 2011. 'Franco's Notational Reforms: Acceptance and Resistance'. In Musik der mittelalterlichen Metropole: Raume, Identitaten und ...

Author: Karen Desmond

Publisher: Cambridge University Press

ISBN: 9781107167094

Category: History

Page: 284

View: 398


Challenges current accounts of the French ars nova, a musical art that was both criticised and heralded for its modernity.

Where Sight Meets Sound

This book comes at a moment when some of the most exciting work on late- medieval music is working to recover unwritten or semi- literate practices of polyphonic music- making. Anna Maria Busse Berger's work on memory, ...

Author: Emily Zazulia

Publisher: Oxford University Press

ISBN: 9780197551912

Category: Music

Page: 344

View: 912


"The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. Composers sometimes asked singers to read the music in unusual ways-backwards, upside-down, or at a reduced speed-to produce sounds whose relationship to the written notes is anything but obvious. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informed-sometimes erroneously-ideas about the premodern era. By viewing notation as a complex technology that did more than record sound, the book revolutionizes the way we think about music's literate traditions"--

The Cambridge Companion to French Music

I: 1945–1980 (Paris: Fayard/Chorus, 2005) Drott, Eric, Music and the Elusive Revolution: Cultural Politics and ... The Calligraphy of Medieval Music (Turnhout: Brepols, 2011) Hiley, David, Western Plainchant: A Handbook (Oxford: ...

Author: Simon Trezise

Publisher: Cambridge University Press

ISBN: 9780521877947

Category: Music

Page: 440

View: 212


This accessible Companion provides a wide-ranging and comprehensive introduction to French music from the early middle ages to the present.