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For Further Reading.A22 33

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For Further Reading A22 ABBREVIATIONS AIM American Institute of Musicology; publications include CEKM, CMM, CSM, and MSD. For lists, see Musica Disciplina (1988): 217-56. cDMI 1 Classici della Musica Italiana, 36 vols. (Milan: Istituto Editoriale Italiano, 1918-20: Societa Anonima Notari la Santa, 1919-21). CEKM Corpus of Early Keyboard Music (AIM, 1963-). CHWMT The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cam- bridge: Cambridge University Press, 2002) CMM Corpus mensurabilis musicae (AIM, 1948-). Dat Denkmaler deutscher Tonkunst, 65 vols. (Leiprig: Breitkopf & Hartel, 1892-1931: repr. Wiesbaden, 1957-61) DTB Denkmiiler der Tonkunst in Bayern (Augsburg, 1900-38; new series, Leipzig: Breit- kopf & Hartel, 1967-). pro Denkmiler der Tonkunst in Oesterreich (Vienna: Artaria, 1894~1904: Leipzig, Breit- kopf & Hartel, 1905-13; Vienna: Universal, 1919-38; Graz: Akademische Druck- und Verlaganstalt, 1966 EMH Early Music History, 1981- EP R. Eitner, ed., Publikationen alterer praktischer und theoretischer Musikwerke, vorzugsweise des XV. und XVI. Jahrhunderts, 29 vols. in 33 Jahrgange (Berlin: Bahn & Liepmannssohn; Leipzig: Breitkopf & Hartel, 1873-1905; repr. 1967). JAMS Journal of the American Musicological Society, 1948-. JM Journal of Musicology. 1982-. MB ‘Musica Britannica (London: Stainer & Bell. 1951-). MQ The Musical Quarterly, 1915~. MSD Musicological Studies and Documents (AIM. 1951). NG2 New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie (London: Macmillan, 2001). Online at www.grove.com. NOHM —_ New Oxford History of Music (London: Oxford University Press, 1954~). PAM Publikationen alterer Musik (Leipzig: Breitkopf & Hartel, 1926~40). PMFC Polyphonic Music of the Fourteenth Century (Monaco: Oiseau-Lyre, 1956). PMMM Publications of Medieval Music, Manuscripts (Brooklyn: Institute of Mediaeval Music, 1957) For FURTHER READING SR Source Readings in Music History, rev. ed., ed. Oliver Strunk, gen. ed. Leo Treitler (New York: Norton, 1998). Readings in SR are referred to by their number in the en- tire collection and, when different, their number in the individual paperback volumes published separately: vol. 1, Greek View of Music, ed. Thomas J. Mathiesen; vol. 2, The Farly Christian Period and the Latin Middle Ages, ed. James McKinnon; vol. 3, The Renaissance. ed. Gary Tomlinson: vol. 4, The Baroque Era, ed. Margaret Murata: vol. 5, The Late Eighteenth Century, ed. Wye Jamison Allanbrook; vol. 6, The Nineteenth Century. ed. Ruth Solie: vol. 7. The Twentieth Century, ed. Robert P. Morgan. Thus “SR 14 (2:6)" means number 14 in the single-volume hardback and number 6 in vol- ume 2 of the paperbacks. The following is not a comprehensive listing of resources available on each topic but rather a collection of the most signi or helpful cent publ GENERAL The New Grove Dictionary of Musie and Musicians, and ed. [NGa], ed. Stanley Sadie (London: Macmillan, 2001), is the first source to consult for almost any subject related to musie. NG2 articles are listed below when they offer an exceptional survey or summary of a significant topics arti- cles on individual composers. theorists, performers, other musicians, instruments. genres. terms. cities, and na- ional traditions are not listed separately but are authori- tative and highly recommended. The same content, in some cases updated, is available from Grove Music Online at www.grovemusie.com. Richard Taruskin, The Oxford History of Western Music (New York: Oxford University Press, 2005) is @ new six-volume comprehensive survey. The New Oxford His~ tory of Music [NOHM] (London: Oxford University Press, 19547) is a multivolume history by numerous experts Reader's Guide to Music: History. Theory, Criticism, ed. Murray Steib (Chicago: Fitzroy Dearborn, 1999). lists and summarizes the most useful and authoritative yooks on numerous composers, genres, countries, and topics. Women and Music The role of women in music has been underrepresented in standard music history texts. Useful correctives. are Women and Music: A History, ed. Karin Pendle (Bloom- ington: Indiana University Press. 1991: 2nd ed., 2001 and Women Making Music: The Western Art Tradition, 1150-1950, ed. Jane Bowers and Judith Tick (Urbana: Uni- versity of Illinois Press, 1986). Primary source documents by and about women in music are collected in Women in Music: An Anthology of Source Readings from the Middle Ages to the Present, rev. ed., ed. Carol Neuls-Bates (Boston: Northeastern University Press, 1996). Works by omen are contained in Historical Anthology of Music by Women, ed. James R. Briscoe (Bloomington: Indiana Uni- versity Press, 1987) and New Historical Anthology of Music by Women, ed. Briscoe (Bloomington: Indiana Uni- can serve as a starting point for further exploration. versity Press, 2004), and in the series Women Composers: Music through the Ages, ed. Martha Furman Schleifer and Sylvia Glickman (New York: G. K. Hall, 1996-) Social and Intellectual History oj Music Pioneering treatments of music in its social and economic contexts are Henry Raynor's, A Social History of Music: From the Middle Ages to Beethoven (New York: Schocken, 1972) and Music and Society since 1615 (New York: Schocken, 1976). still stimulating though out of date. On music and aesthetics in history, see Edward A. Lippman, A History of Western Musical Aesthetics (Lincoln: Univer sity of Nebraska Press. 1992). For a history of the use of, music for healing, see the essays in Music as Medicine. The History of Music Therapy since Antiquity, ed. Pere- grine Horden (Aldershot: Ashgate, 2000), Music Theory On the history of music theory. see The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cam- bridge: Cambridge University Press, 2002) [CHWMT]. For bibliography. see David Damschroder and David Russell Williams, Music Theory from Zarlino to Schenker: A Bibli- ography and Guide (Stuyvesant, NY: Pendragon, 1990) Musical Instruments For musical instruments, see The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie (London: Macmil- lan, 1984), and Mary Remnant, Musical Instruments: An Mlustrated History from Antiquity to the Present, gen. ed, Reinhard G. Pauly (Portland, OR: Amadeus Press, 1989) Performance Practice See Colin Lawson and Robin Stowell, The Historical Per- formance of Musie: An Introduction (Cambridge: Cam- bridge University Press, 1999); Howard Mayer Brown and Stanley Sadie, eds., Performance Practice, 2 vols. (New For Furtier READING York: Norton, 1990); and Readings in the History of Music in Performance, trans. and ed. Carol MacClintock (Bloomington: Indiana University Press. 1979). Source Readings A rich, annotated compendium of writings about music from ancient Greece to modern America is Oliver Strunk's Source Readings in Music History, rev. ed. (SRI. gen. ed. Leo Treitler (New York: Norton, 1998); itis also available in seven paperback volumes, each on a separate historical pe- riod. While Strunk and Treitler print entire texts or see- tions, smaller items and passages are collected in Music in the Western World: A History in Documents, ed. Piero ‘Weiss and Richard Taruskin (New York: Schirmer, 1984), and Composers on Music: Eight Centuries of Writings, and ed., ed. Josiah Fisk (Boston: Northeastern University Press. 1997). For writings on music and aesthetics, see Musical Aes- theties: A Historical Reader, 3 vols.,.ed. Edward A. Lippman (New York: Pendragon, 1986). and Contemplating Music: Source Readings in the Aesthetics of Music, 4 vols.,.ed. Carl Dahlhaus and Ruth Katz (New York: Pendragon, 1987-93). On systems and principles of music education, see Music Education: Source Readings from Ancient Greece to Today. ed. Michael L, Mark (New York: Routledge, 2002). Music, Mysticism, and Magic: A Sourcebook, ed. Joscelyn Godwin (London: Routledge and Kegan Paul, 1986), offers materials onthese often overlooked sides of music. PART I: THE ANCIENT AND MEDIEVAL WORLDS ‘An outstanding survey of medieval music appears in The Early Middle Ages to 1300, ed. Richard Crocker and David Hiley (Oxford: Oxford University Press, 1990), and Music as Concept and Practice in the Late Middle Ages, cd. Rein- hard Strohm and Bonnie J. Blackburn (Oxford: Oxford University Press. 2001). which replace older volumes of NOHM. Other surveys include David Fenwick Wilson, Music of the Middle Ages: Style and Structure, paired with his Music of the Middle Ages: An Anthology for Perfor- mance and Study (New York: Schirmer, 1990); Jeremy Yudkin, Music in Medieval Europe (Upper Saddle River, NJ: Prentice Hall, 1989). which includes an integrated an- thology: and Richard H. Hoppin, Medieval Music, paired with his Anthology of Medieval Music (New York: Norton, 1978). Another anthology is Medieval Music: The Oxford Anthology of Musie, ed. W. Thomas Marrocco and Nicholas Sandon (London: Oxford University Press, 1977). The social and cultural contexts for music for this pe~ riod are treated in Antiquity and the Middle Ages: From Ancient Greece to the 15th Century, ed. James McKinnon (London: Macmillan, 1990: Englewood Cliffs, NJ: Prentice Hall, 1991), 2 collection of chapters by various authorities, Philosophical and aesthetic perspectives on music are traced in Herbert M. Schueller, The Idea of Music: An In- troduction to Musical Aesthetics in Antiquity and the Mid- dle Ages (Kalamazoo: Medieval Institute Publications Western Michigan University, 1988). A Companion to Medieval and Renaissance Music, ed. Tess Knighton and David Fallows (Berkeley: University of California Press, 1992). offers a variegated collection of essays by perform: ers and scholars on performance practice, aesthetics, genre, style, instruments, and other matters An annotated bibliography on medieval musical schol- arship is Andrew Hughes, Medieval Music: The Sixth Lib- eral Art (Toronto: University of Toronto Press. 1980). Performance Practice On performance issues, see A Performer’s Guide to Me dieval Music, ed. Ross W. Duffin (Bloomington: Indiana University Press, 2000); Timothy J. MeGee, The Sound of ‘Medieval Song: Ornamentation and Vocal Style According to the Treatises (Oxford: Clarendon, 1998); Performance Practice: Music Before 1600, ed. Howard Mayer Brown and Stanley Sadie (London: Macmillan, 1989); Timothy J. McGee, Medieval and Renaissance Musie: A Performer's Guide (Toronto: University of Toronto Press. 1985): and Singing Early Musie: The Pronunciation of European Lan guages in the Late Middle Ages and Renaissance. ed. McGee. with A. G. Rigg and David N. Klausner (Blooming ton: Indiana University Press, 1996), which includes 2 CD. Daniel Leech-Wilkinson addresses the modern idea of medieval music, especially with respect to performance practice, in The Modern Invention of Medieval Music Scholarship, Ideology, Performance (Cambridge: Cam- bridge University Press, 2002). CHAPTER 1 The categorization in chapter 1 of evidence relating to music of the past into four main types (instruments and ‘other physical remains, images, writings, and music itself) is based on the first chapter of Thomas J. Mathiesen’s Apollo's Lyre (cited below). ‘Music before Historical Records Essays speculating on music's origins are collected in The Origins of Music, ed. Nils L. Wallin, Bjorn Merker, and Steven Brown (Cambridge, MA: MIT, 2000) ‘The prehistory of European music is summarized in Ellen Hickmann, "Europe, pre~ and proto-historie.” in NGz2, Pictures of instruments unearthed from prehistoric through historic times are collected in Annemies Tam boer, Ausgegrabene Klinge: Archiologische Musikinstru- ‘mente aus allen Epochen (Oldenburg: Isensee. 1999) Mesopotamia See Anne Draffkorn Kilmer, “Mesopotamia,” in NG. On Enheduanna, see William W. Hallo and J. J.A. van Dijk, En- THER READING heduanna: The Exaltation of Inanna (New Haven: Yale Uni- versity Press, 1968). On Babylonian notation, see M. L. West, “The Babylonian Musical Notation and the Hurrian Melodie Tests,” Music and Letters 125 (1993-94): 161-79. For other ancient cultures, see NG2articles on “Anatolia” and “Egypt.” Greece and Rome The most comprehensive survey of Greek music, its his- tory, instruments, practice, and theory is Thomas J. Math- iesen, Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Early Middle Ages (Lincoln: University of Nebraska Press, 1999). See also his “Greece, I,” in NG2; his “Greek Music Theory.” in CHWMT, 109-35: Warren D. An~ derson. Musi and Musicians in Ancient Greece (Ithaca, NY: Cornell University Press, 1994): and M. L. West, An- cient Greek Music (Oxford: Clarendon, 1992). For a dis- cussion of ethos, see Anderson, Ethos and Education in Greek Music (Cambridge, MA: Harvard University Press, 1966), or Anderson and Mathiesen, “Ethos,” in NG2. Surveys that cover both Greek and Roman music in- clude John G. Landels, Music in Ancient Greece and Rome (London: Routledge, 1999). and Giovanni Comotti, Music in Greek and Roman Culture, trans. Rosaria V. Munson Galtimore: Johns Hopkins University Press, 1989). See also "Rome,” in NCa, Transcriptions of the extant Greek melodies and frag ments are given in Egert Pohlmann and Martin L. West. Documents of Ancient Greek Music: The Extant Melodies and Fragments (Oxford: Clarendon, 2001). Most of the Greek writings referred to in this chapter are available in English translation. SR includes excerpts, from Plato's Republic and Timaeus and Aristotle's Poetics (SR 1-3) along with theoretical writings by Cleonides. Aristides Quintilianus, and Gaudentius (SR 4~6); the lat- ter three list the note names in the Greek system, the last two describe Greek notation, and Gaudentius includes the story of Pythagoras’s discovery of the ratios underlying the octave, fifth, and fourth. A large portion of Greek and Latin literature is con- tained in the Loeb Classical Library. with translations on facing pages with the originals. The views of Plato and Aristotle described here are summarized from Plato's Re- public 3. 4. and 10: his Laws 2, 3, and 7: and Aristotle's Politics 8 and Poetics 1. Writings specific to music are fathered in Greek Musical Writings, 2 vols., ed. Andrew Barker (Cambridge: Cambridge University Press, 1984-89). with useful explanatory notes: volume 1 con: tains writings by poets, dramatists, and philosophers, and volume 2 has complete English translations of Aristox- emus, Nicomachus, Ptolemy. and Aristides Quintilianus and excerpts from Plato, Aristotle, and other writers. The following translations of individual treatises are also available: Aristoxenus, The Harmonics of Aristox- ‘emus, ed. and trans. Henry S. Macran (Oxford: Clarendon, 1902); The Euclidian Division of the Canon, ed. and trans. André Barbera (Lincoln: University of Nebraska Press, 1991): Sextus Empiricus, Against the Musicians, ed. and trans. Denise Davidson Greaves (Lincoln: University of Nebraska Press, 1986): Aristides Quintilianus, On Music iin Three Books, trans. Mathiesen (New Haven: Yale Uni- versity Press, 1983); Nicomachus of Gerasa, The Manual of Harmonies of Nicomachus the Pythagorean, trans. and com mentary by Flora R. Levin (Grand Rapids. Ml: Phanes. 1994): Claudius Ptolemy, Harmonies, trans. and commen- tary by Jon Solomon (Leiden: Brill, 2000). CHAPTER 2 Judaism The classic work on Jewish music is A.Z. Idelsohn. Jewish Music in Its Historical Development (New York, 1929: repr. New York: Schocken, 1967). See also Joachim Braun, “Jewish Music, SII: Ancient Israel/Palestine.” in NG2, On the connections between Jewish music and the ‘music of the early Christian Church, see James W. McKin- non, The Temple, the Church Fathers and Early Western Chant (Brookfield. VT: Ashgate. 1998), and Peter Jeffery. Re-Envisioning Past Musical Cultures: Ethnomusicology in the Study of Gregorian Chant (Chicago: University of Chicago Press, 1992). See also Eric Werner's seminal study, The Sacred Bridge: The Interdependence of Mu and Liturgy in Synagogue and Church during the First Mil- Jennium, 2 vols. (London: D. Dobson: New York: Colum- bia University Press, 1959-84). Early Christian Music ‘See McKinnon, "Christian Church, music of the early.” in NGa. For an important collection of patristic and pagan source readings on music in early Christian worship and society, see Music in Early Christian Literature, ed. Me- Kinnon (Cambridge: Cambridge University Press, 1987). For an overview of monastic life, see James C. King and Werner Vogler, The Culture of the Abbey of St. Gall (Stuttgart: Belser, 1991). Excerpts from the writings of St. Basil, St. John Chrysostom, St. Jerome, and St. Augustine are in SR 9-13 (2:15). Byzantine Chant See Dimitri E. Conomos, Byzantine Hymnography and Byzantine Chant (Brookline, MA: Hellenic College Pres 1984): Oliver Strunk, Essays on Music in the Byzantine World (New York: Norton, 1977): and Egon Wellesz, A His- tory of Byzantine Music and Hymnody. and ed. (Oxford: Clarendon, 1971). Giulio Cattin, Music of the Middle Ages I. trans. Steven Botterill (Cambridge: Cambridge Univer- sity Press, 1984). focuses on Byzantine and Latin chant. Dialects of Western Chant ‘The standard work on Western dialects of chant, including Gregorian chant, is David Hiley, Western Plainchant Por FurtTHEeR READING (Oxford: Clarendon, 1993). See also Giulio Cattin, Music of the Middle Ages I. For a study in depth of one of the chant dialects, sce Thomas F. Kelly, The Beneventan Chant (Cambridge: Cambridge University Press, 1989). The an cient Gallican rite is described by a contemporary in SR 18 (2x0). The Creation of Gregorian Chant ‘An cighth-century deceription of the Roman liturgy is in SRig (2m). On the oral transmission and written codification of Gregorian Chant, sce Leo Treitler, With Voice and Pen: Coming to Know Medieval Songand How It Was Made (Ox ford: Oxford University Press. 2003). with accompanying, CD; MeKinnon, The Advent Project: The Later-Seventh Century Creation of the Roman Mass Proper (Berkeley University of California Press. 2000): Kenneth Levy, Gregorian Chant and the Carolingians (Princeton: Prince ton University Press, 1998): Jeffery, Re-Envisioning Past Musical Cultures ; James Grier, "Adémar de Chabannes, Carolingian Musical Practices. and Nota Romana,” JAMS 56 (2003): 43-98: and McKinnon, “The Emergence of Gregorian Chant in the Carolingian Era,” in Antiquity and the Middle Ages, 88: Notation Isidore of Seville’s comment about notation is from his Etymologies, Book 3, excerpted in SR 16 (2:8). Near- contemporary accounts of melodies being corrupted in transmission from Rome to Frankish lands are in SR ‘1-22 (2:13-14). Guido of Arezzo describes his new nota- tion in the Prologue to his Antiphoner, in SR 27 (2:19), and points out its benefits in Epistle on an Unknown Chant, in SR 28 (2:20). which also introduces his solmiza- tion syllables. For an overview of notation, sce “Notation” in NG2, Fac- les of many of the earliest manuse are published in Paléographie musical manuscrits de chant Grégorien, Ambrosien, Mozarabe, Cal- ican (Solesmes: Imprimerie St-Pierre: Tournai: Descléc, Lefebure, 1889-). two series. Color reproductions from various manuscripts appear in Schriftbild der einstimmi- gen Musik, Musikgeschichte in Bildern 3/4, ed. Bruno ‘Stublein (Leipzig: Deutscher Verlag fir Musik. 1975). Theory Martianus Capella, De nuptiis Philologiae et Mercuri, trans. with commentary in William Harris Stahl et al., Martianus Capella and the Seven Liberal Arts (New York: Columbia University Press, 1971). On music in the trivium and quadrivium, see The Seven Liberal Arts in the Middle ‘Ages, ed. David L. Wagner (Bloomington: Indiana Univer- sity Press. 1983) Boethius, Fundamentals of Music (De ins siea libri quinque), trans. with intro. and notes by Calvin M. Bower, ed, Claude V. Palisca (New Have sity Press, 1989); excerpts in SR 14 (2:6). See also the use ful collection of essays contained in Boet Liberal Arts, ed. Michael Masi (Berne: Paul Lange, Musica enchiriadis and Scolica enchiriadis, trans. w intro. and notes by Raymond Erickson, ed. Palisea (New Haven: Yale University Press, 1995): excerpt from the fo line through the Thesaurus Masicarum Latinarum a na.edw/tml On medieval theory. sce Bower. "The Tram: Ancient Music Theory into the Middle Ages”. linger, "Medieval Canonies”; and David E. Cohen, "Notes, Seales, and Modes in the Earlier Middle Ages.” in CHWMT, pp. 136-67, 168-92, and 307-63 respectively. See also ‘Thomas J. Mathiesen, Apollo’s Lyre, chapter 7, “The Tradi tion in the Middle Ages.” For an cverview of medieval the ories of mode, see Harold S. Powers and Frans Wi “Mode, Il: Medieval Modal Theory.” in NGa. CHAPTER 3. Liturgy An cighth-century form of the Mass liturgy, Ordo romanus XVII, appears in SR 19 (2:11), and the description of the Office in The Rule of St rurgy, see John Harper, The Fo: ern Liturgy from the Tenth to the Eighteenth Century (Oxford: Clarendon, 1991): and Cheslyn Jones, Geoffrey ‘Wainwright, and Edward Yarnold.S], The Study of Liturgy. and ed. (New York: Oxford University Press, 1992). On the psalms, see The Place of the Psalms in the Intellectual Culture in the Middle Ages. ed. Nancy van Deusen ( bany: State University of New York, 1999). On the Office see the valuable essays gathered in The Divine Office in the Latin Middle Ages: Methodclogy and Source Studies, Regional Developments, Hagicgraphy, ed. Margot F. Fassler and Rebecea A. Baltzer (Oxford: Oxford University Press, 2000). The quotation from St. Basil on p. 53 is from SR g (2 Gregorian Chant The Liber Usualis with Introduction and Rubrics in Eng! (New York: Desclée, 1961) is the practical reference chant use in the modern Catholic liturgy. It presents an idealized version that attempts to account for diverse sources and changes over the centuries. The chants of the Mass in plainsong notation with facsimiles of origina neumes above and below are in Graduale triplex Solesmes: Abbaye Saint-Pierre de Solesmes. 1979). On the work of the Benedictine monks of Solesmes in researching and editing chant, see Katherine Bergeron, Decadent Enchant ments: The Revival of Gregorian Chant at Solesmes (Berkeley: University of California Press. 1998). Fok FuatHeR READING ‘The standard work on chant is David Hiley, Western Plainchant. A useful shorter guide is Richard L. Crocker, An Introduction to Gregorian Chant (New Haven: Yale University Press, 2000), with accompanying CD with nu- merous examples. ‘Three treatises relevant to chant, including Guido of Arezzo’s Micrologus, are translated by Warren Babb in Hucbald, Guido and John on Music, ed. Claude V. Palisea (New Haven: Yale University Press, 1978). Trope Sce Alejandro Enrique Planchart, “Trope (i).” in NG2, and Hiley, Western Plainchant. Two complete troped masses from eleventh-century France, including the Mass for Christmas Day. appear in Festive Troped Masses from the Eleventh Century: Christmas and Easter in Aquitaine. ed. Charlotte Roederer (Madison, WI: A-R Editions, 1989). Sequence See Margot Fassler, Cothie Song: Vietorine Sequences and Augustinian Reform in Twelfth- Century Paris (Cambridge: Cambridge University Press, 1993). and Crocker, The Early Medieval Sequence (Berkeley: University of California Press, 197). Liturgical Drama, Major studies include William L. Smoldon, The Music of the Medieval Church Dramas, ed. Cynthia Bourgeault (London and New York: Oxford University Press, 1980). and Susan Rankin, The Music of the Medieval Liturgical Drama in France and England. 2 vols. (New York: Garland, 1989), who collates music for most of the dramas. Hildegard of Bingen Aletter from Hildegard appears in SR 23 (2:15). Studies of her and her music include Fiona Maddocks, Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 3001); Sabina Flanagan, Hildegard of Bingen, 1098-1179: A Visionary Life, and ed. (London: Routledge. 1998): Voice of the Living Light: Hildegard of Bingen and Her World, ed. Barbara Newman (Berkeley: University of Cali fornia Press, 1998); and The ‘Ordo virtutum’ of Hildegard of Bingen: Critical Studies. ed. Audrey Ekdahl Davidson (Kalamazoo: Medieval Institute Publications, Western Michigan University, 1992). For Hildegard’s music, see Symphonia: A Critical Edition of the “Symphonia armonie celestium revelationum,” and ed., with intro, trans., and commentary by Newman (Ithaca, NY: Cornell University Press. 1998). Music in Convents See Anne Bagnall Yardley, "Ful weel she song the service dyyyne': The Cloistered Musician in the Middle Ages.” in Women Making Music: The Western Art Tradition, 1150-1940, ed. Jane Bowers and Judith Tick (Urbana: Uni versity of Illinois Press, 1986). 15-38. CHAPTER 4 Song ‘An excellent study of monophonic settings of various kinds of texts. both sacred and secular, is John Stevens, Words and Music in the Middle Ages: Song. Narrative, Dance and Drama, 1050-1350 (Cambridge: Cambridge University Press, 1986). On secular monophony. see Mar garet L. Switten, The Medieval Lyric (South Hadley, MA: Mount Holyoke College, 1987-) and accompanying cas- settes. The CD-ROM and CD set directed by Switten, Teaching Medieval Lyric with Modern Technology: New Windows on the Medieval World (South Hadley, MA: Mount Holyoke College, 2001), includes manuscript fac~ similes, transcriptions. texts, translations, commentary. and performances of Latin songs, troubadour and trouvére songs, and the Cantigas de Santa Maria David Wulstan argues for a rhythmic interpretation of all medieval song in The Emperor's Old Clothes: The Rhythm of Mediaeval Song (Ottawa: Institute of Mediaeval Music, 2001). Fora collection of essays devoted to women, and song in medieval society, see Medieval Woman's Song: Cross-Cultural Approaches, ed. Anne L. Klinck and ‘Ann Marie Rasmussen (Philadelphia: University of Penn- sylvania Press, 2002) Latin Song Bryan Gillingham reassesses the roles and origins of Latin secular monophonic song in The Social Background to Latin Medieval Secular Song (Ottawa: Institute of Mediae~ val Musie, 1998). For a critical evaluation of the music, see his A Critical Study of Secular Medieval Latin Song (Ot- tawa: Institute of Mediaeval Musie, 1995). Almost the en- tire repertoire appears in Secular Medieval Latin Song: An Anthology, ed. Gillingham (Ottawa: Institute of Mediaeval Music, 1993). France ‘Two excellent studies are Christopher Page, Voices and In- struments of the Middle Ages: Instrumental Practice and ‘Songs in France, 100-1300 (Berkeley: University of Cali~ fornia Press, 1986), and Hendrik van der Werf, The Chan- sons of the Troubadors and Trouvéres: A Study of the Melodies and Their Relation to the Poems (Utrecht: A. Oosthoek, 1972), from which the translation of Bernart de Ventadorn’s Can vei la lauzeta mover on p. 79 is taken. Christopher Page. The Ow! and the Nightingale: Musical Life and Ideas in France 1100-1300 (London: Dent, 1989) is a valuable contribution to the social history of music in, France in the twelfth and thirteenth centuries. See also Page, “Court and City in France, 11001300." in Antiquity For FuRTHER READING and the Middle Ages, ed. James W. MeKinnon, 197-217. On court life and manners, see C. Stephen Jaeger. The Origins of Courtliness: Givilizing Trends and the Formation of Courtly Ideals, 99-1210 (Philadelphia: University of Penn- sylvania Press, 1985). John Haines, Eight Centuries of Troubadours and Trouvéres: The Changing Identity of Me dieval Music (Cambridge: Cambridge University Press. 2004), examines changing historical perspectives on the ‘troubadours and trouvéres. For bibliography, see Margaret L. Switten, Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 1100-1400 (New York: Garland, 1995) The standard work on the music, history, and cultural context of the troubadours is Elizabeth Aubrey. The Music of the Troubadours (Bloomington: Indiana University Press, 1996). Their vidas (life stories) are translated by Margarita Egan, The Vidas of the Troubadours (New York and London, 1984); razos, describing particular songs, are ‘translated by William E. Burgwinkle, Razos and Trouba dour Songs (New York: Garland, 1992). An edition of trou- badour songs is The Extant Troubadour Melodies: Transcriptions and Essays for Performers and Scholars, ed. Hendrik van der Wert, texts ed. Gerald A. Bond (Rochester, NY; Author, 1984). Troubadour and trouvére songs appear in Songs of the Troubadours and Trouvéres: An Anthology of Poems and Melodies, ed. Samuel N. Rosenberg. Mar- garet L. Switten, and Gérard Le Vot (New York: Garland, 1998). On the trobairitz, see Songs of the Women Trouba- dours, ed. Matilda Tomaryn Bruckner, Laurie Shepard, and ‘Sarah White (New York: Garland, 1995). Trouvere songs are in Trouvéres-Melodien, ed. Hen- drik van der Werf, in Monumenta musicae med 11-12 (Kassel: Barenreiter, 1977~79). For works of Adam de la Halle, see The Lyrics and Melodies of Adam de La Halle, ed. and trans. Deborah Hubbard Nelson, music ed. van der Werf (New York: Garland, 1985), and Le jew de Robin et Marion, ed. and trans. Shira I. Schwam-Baird, music ed. Milton G. Scheuermann, Jr. (New York: Car- land. 1994). For the women trouvéres, see Songs of the Women Trouveres, ed. Eglal Doss-Quinby et al. (New Haven: Yale University Press, 2001). Chansonniers in facsimile include Pierre Aubry, Le Chansonnier de Arsenal (Paris: P. Geuthner. 1909). facsimile and partial transcription; Jean Beck, Le Chan- sonnier Cangé, 2 vols. (Philadelphia: University of Pennsylvania Press. 1927) (vol. 2 has transcriptions); Beck, Le Manuscrit du Roi, 2 vols. (Philadelphia: Univer- sity of Pennsylvania Press, 1938); and Alfred Jeanroy. Le Chansonnier d’Arras (Paris, 1925: repr. New York: John- son, 1968). England ‘On English song, see E. J. Dobson and F. L. Harrison, Me~ dicval English Songs (London: Faber & Faber. 1979). and Harrison, Music in Medieval Britain (Buren, Netherlan Knuf, 1980) Germany For the Minnesinger, see James V. McMahon, The Music of Early Minnesang (Columbia, SC: Camden House. 1990). Italy On Italian song and its relation to the tradition of the trou badours, see F. Alberto Gallo. Music in the Castle: Trouta- dours, Books, and Orators in Italian Courts of the Thirteenth, Fourteenth, and Fifteenth Centuries, trans. ‘Anna Herklotz (Chicago: University of Chicago Press 1996). On the lauda in general, see Blake Wilson, “Lauda,” in NG2, For the lauda repertory, see The Earliest Laude: The Cortona Hymnal, ed. Hans Tischler (Ottawa: Institute of Mediaeval Music, 2002), and The Florence Laudario: An Edition of Florence, Biblioteca nazionale centrale, Banco rari 18, music ed. Wilson, texts ed. and trans, Nello Barbieri (Madison, WI: A-R Editions. 1995). On the medieval Florentine lauda tradition, see Wilson, ‘Music and Merchants: The Laudesi Companies of Repub- lican Florence (Oxford: Oxford University Press. 1992) On the Venetian tradition in the Middle Ages and later. see Jonathan Glixon, Honoring God and the City: Music atthe Venetian Confraternities, 1260-1607 (Oxford: Oxfort University Press, 2003). Other regional traditions are ex- amined by Gyrilla Barr, The Monophonic Lauda and the Lay Religious Confraternities of Tuscany and Umbria in the Late Middle Ages (Kalamazoo: Medieval Institute Publications, Western Michigan University. 1988). Spain For the cantigas, see Joseph F. O'Callaghan, Alfonxo X and the Cantigas de Santa Maria: A Poctic Biography (Leiden and Boston: Brill, 1998). The music is edited in Alfonso X El Sabio, Cantigas de Santa Maria: Nueva transcripeién integral de su miisica segtin la métrica latina, ed. Roberto Pla (Madrid: Misica Didactica, 2001), the texts in Afonso, X, O Sabio, Cantigas de Santa Maria, ed. Walter Mettmann (Ediciéns Xerais de Galicia, 1981), and translations in Songs of Holy Mary of Alfonso X, The Wise, trans. Kath een Kulp-Hill (Tempe: Arizona Center for Medieval and Renaissance Studies, 2000). An older edition with com- plete faesimile is Higinio Angles, La misica de las cantigas de Santa Maria del Rey Alfonso el Sabio, 3 vols. in 4 Barcelona: Biblioteca Central, Seccién de Musica 1943-64). On Muslim and Jewish song, especially in Spain, see Amnon Shiloah, “Muslim and Jewish Musical ‘Traditions of the Middle Ages.” in Musie as Concept and Practice in the Late Middle Ages, ed. Reinhard Strohm and Bonnie J. Blackburn, 1-30. Instruments and Dance On individual instruments, see A Performer's Guide to Medieval Music, ed. Ross W. Duffin (Bloomington: Indi ana University Press, 2000). On the music, see Howard For FURTHER READING Mayer Brown and Keith Polk, “Instrumental Music, . 1300-c. 1520,” and Walter Salmen, “Dances and Dance Music. c. 1300-c. 1530,” in Music as Concept and Practice in the Late Middle Ages, ed. Strohm and Blackburn, 97-161 and 162-90. For transcriptions of all the extant dances, along with a useful commentary. see Timothy McGee, Medieval Instrumental Dances (Bloomington: In diana University Press, 1989). Charen 5 General The Early Middle Ages to 1300, ed. Richard L. Crocker and David Hiley, contains excellent surveys of early polyphony by Sarah Fuller, Notre Dame polyphony by Janet Knapp, and French and English thirteenth-century polyphony by Crocker. F. Alberto Gallo, Music of the Middle Ages Il, trans. Steven Botterill (Cambridge: Cam- bridge University Press, 1985). focuses on polyphony in the Latin West. See also Sarah Faller, "Organum-dis- cantus-contrapunctus in the Middle Ages.” in CHWMT, 497-502: and "Organum.” “Discant,” "Conduetus,” and “Motet, 81: Middle Ages” in NGa, A view of the social roles for polyphonic music is of- fered in Marion S. Gushee, “The Polyphonic Music of the Medieval Monastery, Cathedral and University,” in Antiq- uity and the Middle Ages, ed. James W. McKinnon, 143-69. In Discarding Images: Reflections on Music and Culture in Medieval France (Oxford: Clarendon, 1993). Christopher Page challenges conventional views of the thirteenth century as rationalistie, constructive, and as- cetic, and pleads for a more intuitive understanding of its human qualities. Early Organum For a translation of Musica enchiriadis and Scolica enchiriadis, see above under chapter a; for Guido of Arezz0’s Micrologus, see under chapter 3. The major study in English of the Winchester Troper, which includes tran scriptions of some of the music, is Alejandro Planchart, The Repertory of Tropes at Winchester, 2 vols. (Princeton: Princeton University Press. 1977). For free organum, see Ad Organum Faciendum & Item de Organo, ed. and trans. Jay A. Huff (Brooklyn: Institute of Mediaeval Music, 1965). Aquitanian Polyphony See Fuller, "St. Martial, SIII: Polyphony.” in NG2. Codex Calixtinus de la Catedral de Santiago de Compostela (n.p. Kaydeda Ediciones. 1993) provides a color facsimile of the entire codex. Theodore Karp, The Polyphony of St. Martial and Santiago de Compostela, 2 vols. (Oxford: Clarendon, 1992), argues for a rhythmic transcription of this repertory and provides an edition, but his principles have not been videly accepted. Editions without rhythms are Hendrik van der Werf, The Oldest Extant Part Music and the Origin of Western Polyphony. 2 vols. (Rochester, NY: Author, 1993), and Bryan Gillingham, Saint Martial Polyphony (Henryville, PA: Institute of Mediaeval Music, 1984). Notre Dame Polyphony Craig Wright reviews the history of music at Notre Dame during the Middle Ages and early Renaissance with fasci~ nating detail in Music and Ceremony at Notre Dame of Paris: 500-1500 (Cambridge: Cambridge University Press, 1989). On the performance of Notre Dame polyphony, see Edward H. Roesner, “The Performance of Parisian Or- ganum,” Early Music 7 (April 1979): 174-89: Rebecca A. Baltzer, “The Geography of the Liturgy at Notre-Dame of, Paris,” in Plainsong in the Age of Polyphony, ed. Thomas, Forrest Kelly (Cambridge: Cambridge University Press, 1992), 45-64: and Baltzer, “How Long was Notre-Dame Organum Performed?” in Beyond the Moon: Festsorift Luther Dittmer, ed. Gillingham and Paul Merkley (Ottawa: Institute of Mediaeval Music. 1990), 118-43. ‘The standard index of the Notre Dame repertory is Friedrich Ludwig, Repertorium organorum recentioris et ‘motetorum vetustissimi stili (Brooklyn: Institute of Medi- aeval Music. 1964~78). A more up-to-date catalogue in English is van der Werf, Integrated Directory of Ongana, Clausulac, and Motets of the Thirteenth Century (Rochester, NY: Author. 1989). See also Gillingham, In- dices to the Notre-Dame Fascimiles (Ottawa: Institute of Mediaeval Music. 1994). The three major sources believed to be the most com- plete descendants of the Magnus liber organi are the man- uscripts Wolfenbattel, Helmstedt 628 (formerly 677). called Wi; Wolfenbittel, Helmstedt 1099 (1206). called ‘Wa; and Florence, Biblioteca Medicea-Laurenziana, plu- teo 29.1, called F. All three are published in facsimile; Wa in An Old St. Andrews Music Book. ed. J. H. Baxter (Lon- don: St. Andrews University Publications, 1931), or Die mitteralterliche Musik-Handschrift Wi, ed. Martin Stac- helin, (Wiesbaden, 1995), with introduction in both English and German; Wa in Wolfenbiittel 1099, ed. Luther A. Dittmer, PMMM 2 (1960); and F in Firenze, Biblioteca Mediceo-Laurenziana, pluteo 29.1, 2 vols., ed. Dittmer, PMMM 10-11 (1966-67). ‘The organa and elausulae are transcribed in Le Magnus liber organi de Notre-Dame de Paris, 6 vols., gen. ed. Ed~ ward H. Roesner (Monaco: Oiseau-Lyre. 1993-). with an introductory note on performance in vol. 1. Hans Tischler, The Parisian Two-Part Organa: The Complete Compara~ tive Edition, 2 vols. (New York, 1988). transcribes the repertoire in the rhythmic modes throughout, as does the partial edition included in William G. Waite, The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice (New Haven: Yale University Press. 1954) For an overview of Notre Dame notation and its rhyth- mic interpretation, see Gillingham, Modal Rhythm (Ot- tawa: The Institute of Mediaeval Music, 1986). See also For FURTHER READING Roesner, "Rhythmic modes”; Hiley and Thomas B. Payne, “Notation, II": and Margaret Bent, “Notation, III”; in NGa. Relevant theorists include Anonymous IV, De men suris et discantu, trans. Jeremy Yudkin, MSD 41 (Neuhausen-Stuttgart: AIM/Hanssler. 1985). and Joannes de Garlandia, Concerning Measured Music (De mensura~ bili musica), trans. Stanley H. Birnbaum (Colorado Springs: Colorado College Music Press, 1978). An excerpt from the latter is in SR 30 (2:22) Conductus See Robert Falck, The Notre Dame Conductus: A Study of the Repertory (Henryville, PA: Institute of Mediaeval Music. 1981), and Page, Latin Poetry and Conductus Rhythm in Medieval France (London: Royal Musical Asso- ciation, 1997). Editions of conduetus include The Conduc- tus Collection of MS Wolfenbittel 1099. 3 vols.. ed. Ethel Thurston (Madison, WI: A-R Editions, 1.980), and Notre- Dame and Related Conductus: Opera omnia, 10 vols.. ed Gordon Anderson (Henryville, PA: Institute of Mediaeval Music, 1979~). Motet Hearing the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce (New York: Oxford University Press, 1997). is a fascinating collection of essays on motets of different eras. Engaging recent studies of the motet in- clude van der Werf, Hidden Beauty in Motets of the Early Thirteenth Century (Tucson: Author. 1998): Sylvia Huot, Allegorical Play in the Old French Motet: The Sacred and the Profane in Thirteenth-Century Polyphony (Stanford: Stanford University Press, 1997): and Mark Everist, French Motets in the Thirteenth Century: Music, Poetry. and Genre (Cambridge: Cambridge University Pres 1994). Tischler, The Style and Evolution of the Earliest Motets (to circa 1270). 3 vols. (Henryville, PA: Institute of Mediaeval Music, 1985), is a companion to his edition and includes a comprehensive catalogue The most complete edition of early motets, which presents each motet in several versions from various manuscripts, is The Earliest Motets (to circa 1270): A Complete Comparative Edition, 3 vols., ed. Tischler (New Haven: Yale University Press, 1982). Editions of particular manuscripts include The Latin Compositions of Fascicules VII and VIII of the Notre Dame Manuscript Wolfenbiittel Helmstedt 1099 (1206). 2 vols... ed. Gordon Anderson (Brooklyn: Institute of Mediaeval Music, 1968); The Montpellier Codex. Recent Researches in the Music of the Middle Ages and Early Renaissance 2-8, ed. Tischler (Madison, WI: A-R Editions, 1978-85); Compo- sitions of the Bamberg Manuscript, CMM 75, ed. Ander son (Neuhausen-Stuttgart: Hanssler. 1977): and Higini Angles. El codex musical de Las Huelgas. 3. vols. (Barcelona: Institut d’estudis catalans, Biblioteca de Catalunya, 1931). Notation. For details of the notation of twelfth- and thirteenth century polyphonic music, consult Carl Parrish, The Nota- tion of Medieval Music (New York: Norton, 1978): Willi Apel. The Notation of Polyphonic Music, sth ed. (Cam- bridge, MA: Medieval Academy of America, 1961); and Waite, The Rhythm of Twelfth-Century Polyphony. An ex cerpt from Franco of Cologne's Ars cantus mensurabilis is inSR31 (2:23) English Polyphony Peter M. Lefferts, "Medieval England, 950-1450.” in An tiquity and the Middle Ages, ed. McKinnon. 170-96. of- fers an overview and contexts for English polyphonic and monophonic music. See also Lefferts, The Motet in Eng land in the Fourteenth Century (Ann Arbor: UMI Re- search Press, 1996). Shai Burstyn, “Gerald of Wales and the Sumer Canon,” JM 2 (1983): 135-50, argues for folk polyphony as an influence on English music and against a firm division between improvisation and composition, Surviving works are collected in English Music of the Thirteenth and Early Fourteenth Centuries, ed. Ernest U. Sanders, PMFC 14 (Monaco: Oiseau-Lyre, 1979). The Worcester fragments are edited in PMMM 5 and in The Worcester Fragments: A Catalogue Raisonné and Transcrip tion, ed. Dittmer, MSD 2. CHAPTER 6 General Polyphonic Music of the Fourteenth Century [PMFC) (Monaco: Oiseau-Lyre, 1956-91) is a comprehensive edi tion of fourteenth-century music from France, Italy, and England: vol. 1: Roman de Fauvel, Vitry, and French Mass Ordinary cycles: 2-3: Machaut; 4: Landini: 5: motets of French provenance; 6-11: Italian secular music: 12-13 Italian sacred and ceremonial musie; 14: English music of the thirteenth and fourteenth centuries: 15: English motets; 16-17: English Mass, Office, and ceremonial ‘music: 18-22: French secular music; 23: French sacred music; 24: Ciconia, On rhythmic notation from the thirteenth through fi teenth centuries, see Anna Maria Busse Berger, “The Evo lution of Rhythmic Notation,” in CHWMT, 626-56. On theory in general, see Jan Herlinger. “Music Theory ofthe Fourteenth and Early Fifteenth Centuries,” in Music as Concept and Practice in the Late Middle Ages, ed. Rein hard Strohm and Bonnie J. Blackburn (Oxford: Oxford University Press, 2001), 244-300. Roman de Fauvel See the faesimile in Frangois Avril, Naney Regaldo, and Edward H. Roesner, Le Roman de Fauvel and Other Works: Facsimile with Introductory Essay (New York: For FurtHen READING Broude, 1986), and the edition in Le premier et le secont livre de Fauvel, ed. Paul Helmer (Ottawa: Institute of Me- diaeval Music, 1997). A diverse collection of essays de- voted to Fauvel is Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliotheque nationale de France. MS francais 146, ed. Margaret Bent and Andrew Wathey (Oxford: Clarendon, 1998). See also Emma Dillon, Medieval Music-Making and the Roman de Fauvel (Cam- bridge: Cambridge University Press, 2002).

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