The Modern Invention of Medieval Music
Scholarship, Ideology, Performance
Series: Musical Performance and Reception;
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Product details:
- Publisher Cambridge University Press
- Date of Publication 17 October 2002
- ISBN 9780521818704
- Binding Hardback
- No. of pages348 pages
- Size 229x152x24 mm
- Weight 680 g
- Language English
- Illustrations 1 b/w illus. 5 music examples 0
Categories
Short description:
A challenging book which questions how much is really known about the way medieval music sounded.
MoreLong description:
Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes?
"This book is a good read for anyone who is interested in medieval music or has an interest in how history, particularly music history, is written and developed." Music Educators Journal
Table of Contents:
Acknowledgements; Introduction; 1. The invention of the voices-and-instruments hypothesis; 2. The re-invention of the a cappella hypothesis; 3. Hearing medieval harmonies; 4. Evidence, interpretation, power and persuasion; Conclusion; Notes; Bibliography; Index.
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