A Performer's Guide to Medieval Music

Contents

• Part 1: Repertoire
• I. Sacred
• 1. Chant
• 2. Organum
• 3. Motet & Cantilena
• 4. Polyphonic Mass Ordinary
• II. Non-Liturgical Monophony
• 5. Introduction
• 6. Latin
• 7. Occitan
• 8. French
• 9. Iberian
• 10. Sephardic
• 11. Italian
• 12. German
• 13. English
• III. Lyric Forms post 1300
• 14. French Ars Nova
• 15. Italian Ars Nova
• 16. Ars Subtilior
• 17. Early Du Fay
• IV. Drama
• 18. Litugical
• 19. Vernacular
• Part 2: Voices & Instruments
• V. The Voice in the Middle Ages
• 20. Poetics as Technique
• VI. Bowed Strings
• 21a. Vielle before 1300
• 21b. Vielle after 1300
• 22. Rebec
• 23. Symphonia
• VII. Plucked Strings
• 24a. Harp
• 24b. Imagining the Early Medieval Harp
• 24c. Playing the Late Medieval Harp
• 25. Lute, Gittern, & Citole
• VIII.Winds
• 26. Flutes
• 27. Reeds & Brass
• 28. Bagpipe
• IX. Keyboard & Related Types
• 29. Organ
• 30. String Keyboards
• 31. Psaltery & Dulcimer
• X. Percussion
• 32. Percussion
• XI. Instrumental Usage
• 33. Untexted Repertoire
• 34. Improvisation & Accompaniment before 1300
• 35. Ornamentation & Improvisation after 1300
• Part 3: Theory & Practice
• XII. Essential Theory for Performers
• 36. The Gamut, Solmization & Modes
• 37. Musica ficta
• 38. Proportion
• 39. Notation & Editions
• 40. Tuning
• Select Discography
• Select Bibliography
• Index