![]() ![]() Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. ![]() edited by Mark Everist University of Southampton cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, S˜ao Paulo, Delhi, Dubai, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York Information on this title: ◦ Cambridge University Press 2011 C This publication is in copyright. ![]() The Cambridge Companion to MEDIEVAL MUSIC. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Od´eon, 1824–1828 (2002), and Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005) as well as editor of three volumes of the Magnus Liber Organi (2001–3). His research focuses on the music of western Europe in the period 1150–1330, French opera in the first half of the nineteenth century, Mozart, reception theory, and historiography. mark everist is Professor of Music and Associate Dean in The Faculty of Humanities at the University of Southampton. In nineteen chapters, seventeen world-leading scholars give a perspective on the music of the Middle Ages that will serve as a point of orientation for the informed listener and reader the book is a must-have guide for anyone with an interest in listening to and understanding medieval music. Rather than presenting merely a chronological view of the history of medieval music, the volume instead focuses on technical and cultural aspects of the subject. Divided into three main sections, the book first of all discusses repertory, styles and techniques – the key areas of traditional music histories next takes a topographical view of the subject – from Italy, German-speaking lands, and the Iberian peninsula and concludes with chapters on such issues as liturgy, vernacular poetry and reception. The Cambridge Companion to Medieval Music From the emergence of plainsong to the end of the fourteenth century, this Companion covers all the key aspects of medieval music. The geography of medieval music Christopher. Secular institutions and ecclesiastical foundations Rebecca Baltzer 16. Compositional trajectories Peter Lefferts 15. Latin poetry and music Leofranc Holford-Strevens 14. Vernacular poetry and music Ardis Butterfield 13. Music east of the Rhine Robert Curry Part III. The fourteenth century Elizabeth Eva Leach Part II. Early polyphony to c.1200 Sarah Fuller 4. Enriching the Gregorian heritage Michael McGrade 3. Your purchase will help support the second edition.Table of contents : Chronology Introduction Mark Everist Part I. Note: This book is available in printed form here. Writes one of his students, “it accomplishes what a textbook does without being a textbook.” Another says, “It gets right into the dirty details of Western music and does so in a way that makes even the most novice listener feel like a professional.” Explored and critiqued by more than two dozen readers from complete amateurs to working professionals, “Whaaaaaaaaat!?” is insightful, exuberant, funny and, according to one music professor, “terrifically valuable as a corrective to bad thinking and its offspring, bad teaching.” In a short, readable 100 pages, Bathory-Kitsz shares the madness and mystery of classical music. Instead, “Whaaaaaaaaat!?” includes classical music-which the composer prefers to call “nonpop”-from ancient times right up to the present day, from Gregorian chant through electrons and gongs to nonpop fused with pop. Written in response to a student’s plea for help (“I’m desperate! I don’t get classical music!”), the book is not stuck in the distant past. Beginning with patterns, pitches and instruments, author Dennis Bathory-Kitsz covers topics from performers to shrieking singers to the mysterious classical codes, from Beethoven (“the great hulk of a man”) through space music, tone poems, nationalism, and even composers insulting each other. It is a concise and helpful book with humor and insight written by a composer and performer with a lifetime of experience. “Whaaaaaaaaat!? I Don’t Get Classical Music: A Self-Help Desperation Guide” is a tonic for the perplexed, and a companion guide for those who feel classical music is forbidding, complex and grandiose.
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