Music as Concept and Practice in the Late Middle Ages

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Abbreviations
IntroductionReinhard Strohm:
I. Amnon Shiloah: Muslim and Jewish Musical Traditions of the Middle Ages
Part I: Musical Cultures of Muslims in Spain
Part II: Jewish Musical Traditions in Spain, Provence and Southern
Italy
II. Andrew Hughes: Late Medieval Plainchant for the Divine Office
III. Howard Mayer Brown and Keith Polk: Instrumental Music, C.1300 - C.1520
Part I: Instrumentalists
Part II: Musical Sources and Performance
Part III: Instruments: Their Groupings and their Repertories
IV. Walter Salmen: Dances and Dance Music, C.1300 - C.1530
V. Tom R. Ward: Polyphonic Music in Central Europe, C.1300 - C.1520
VI. Jan Herlinger: Music Theory of the Fourteenth and Early Fifteenth Centuries
VII. Bonnie J. Blackburn: Music Theory and Musical Thinking after 1450
VIII. Reinhard Strohm: Music, Humanism, and the Idea of a 'Rebirth' of the Arts
Bibliography
Index

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'Music as Concept and Practice in the Late Middle Ages' is an entirely new addition to the New Oxford History of Music series rather than a revision of the volume's predecessor published in 1960. It takes account not only of the developments in late-medieval music scholarship during the latter decades of the twentieth century, but also of the experience gained through significant changes in the performance practice of the late-medieval repertory witnessed during this period. All the chapters include areas of discussion whose coverage in the series hitherto has been either wholly lacking or, at best, marginal: Muslim and Jewish musical traditions of the Middle Ages, late-medieval office chant, medieval dance music, musical instruments in society, music in Central and Eastern Europe, music theory of the fourteenth and fifteenth centuries, music and early Renaissance humanism. The first chapter and the last three present the conceptualization of music in speculative theory, philosophy, compositional and didactic practice, and musical historiography. Four chapters, and part of the first, illustrate important musical repertories and genres as they were developed within diverse societies. The eight authors - all of them with a long-standing interest in their respective subjects - have created through their collaboration a blend of mature scholarship and original investigation. The volume's novelty of approach and content is complemented by a firm anchorage in the specialist literature and documentary source material. Today, no single view of 'the Middle Ages' can be acceptable to the musician or to the historian. The present volume, which addresses itself to both, provides solid information on formerly marginal themes, and advocates further exploration of the 'other' Middle Ages.

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groundbreaking chapter by Andrew Hughes on chant composition

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