Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-767nl Total loading time: 0 Render date: 2024-07-12T20:00:59.869Z Has data issue: false hasContentIssue false

18 - The Revival of Medieval Music

from Volume I

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Atlas, Alan. Renaissance Music: Music in Western Europe, 1400–1600. New York: W. W. Norton, 1998.Google Scholar
Bagby, Benjamin. “What Is the Sound of Medieval Song?Medieval Academy News 151 (Spring 2005), 12.Google Scholar
Beck, Jean and Murray Gibbon, John. The Play of Robin and Marion, Mediæval Folk Comedy Opera by the Trouvère Adam de la Halle. Boston, MA: C. C. Birchard, 1928.Google Scholar
Bergeron, Katherine. Decadent Enchantments: The Revival of Gregorian Chant at Solesmes. Berkeley: University of California Press, 1998.Google Scholar
Bontempi, Giovanni. Historica Musica. Perugia: Pe’ l Costantini, 1695.Google Scholar
Brulin, Monique. “Le plain-chant comme acte de chant au XVIIe siècle en France,” in Plain-chant et liturgie en France au XVIIe siècle, ed. Duron, J.. Versailles: Royaumont, 1997, 4048.Google Scholar
Burney, Charles. A General History of Music from the Earliest Ages to the Present Period, 4 vols. London: T. Becket, 1776–89.Google Scholar
Coussemaker, Edmond de. Chants populaires des Flamands de France. Hildesheim: Olms, 1971; originally published 1856.Google Scholar
Davies, H. Neville. “King Arthur; or, The British Worthy,” in Henry Purcell’s Operas: The Complete Texts, ed. Burden, Michael. Oxford University Press, 2000, 253335.Google Scholar
Durant, Will. The Story of Civilization, vol. iv: The Age of Faith. New York: Simon & Schuster, 1950.Google Scholar
Edelman, Nathan. Attitudes of Seventeenth-Century France toward the Middle Ages. Morningside Heights, NY: King’s Crown Press, 1946.Google Scholar
Gollin, James. Pied Piper: The Many Lives of Noah Greenberg. Hillsdale, NJ: Pendragon, 2001.Google Scholar
Haines, John. “Antiquarian Nostalgia and the Institutionalization of Early Music,” in The Oxford Handbook of Music Revival, ed. Hill, Juniper and Bithell, Caroline. Oxford University Press, 2014.Google Scholar
Haines, J. “The Arabic Style of Performing Medieval Music,” Early Music 29 (2001), 369–78.Google Scholar
Haines, J. Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. Cambridge University Press, 2004.Google Scholar
Haines, J. “The Footnote Quarrels of the Modal Theory: A Remarkable Episode in the Reception of Medieval Music,” Early Music History 20 (2001), 87120.CrossRefGoogle Scholar
Haines, J. “Friedrich Ludwig’s ‘Musicology of the Future’: A Commentary and Translation,” Plainsong and Medieval Music 12 (2003), 129–64.CrossRefGoogle Scholar
Haines, J. “Généalogies musicologiques: Aux origines d’une science de la musique vers 1900,” Acta Musicologica 73 (2001), 2144.Google Scholar
Haines, J. “Living Troubadours and Other Recent Uses for Medieval Music,” Popular Music 23 (2004), 133–53.Google Scholar
Haines, J. “Marius Barbeau and Jean Beck on Transcribing French-Canadian Songs,” Journal of the Association for Recorded Sound Collections 30 (1999), 16.Google Scholar
Haines, J. “Marius Barbeau et le Moyen-Âge,” in Around and About Marius Barbeau: Modelling Twentieth-Century Culture, ed. Jessup, L., Nurse, A., and Hull, G. Smith, Québec: Canadian Museum of Civilization, 2008, 185–97.Google Scholar
Haines, J. Medieval Song in Romance Languages. Cambridge University Press, 2011.Google Scholar
Haines, J. “The Origins of the Musical Staff,” The Musical Quarterly 91 (2009), 327–78.Google Scholar
Haines, J. “Paraphrases musico-théâtrales du Jeu de Robin et Marion, 1870–1930,” Revue d’Histoire du Théâtre 216 (2002), 281–94.Google Scholar
Haines, J. “Performance before c. 1430: An Overview,” in The Cambridge History of Music Performance, ed. Lawson, C. and Stowell, R.. Cambridge University Press, 2011, 231–47.Google Scholar
Hameline, Jean-Yves. “Le plain-chant aux lendemains du Concile de Trente,” In Plain-chant et liturgie en France au XVIIe siècle, ed. Duron, J.. Versailles: Royaumont, 1997, 1330.Google Scholar
Harris-Warwick, Rebecca. “La Mariée: The History of a French Court Dance,” in Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony, ed. Heyer, J. Hajdu. Cambridge University Press, 1989, 239–57.Google Scholar
Harty, Kevin. The Reel Middle Ages: American, Western and Eastern European, Middle Eastern and Asian Films about Medieval Europe. Jefferson, NC: McFarland, 1999.Google Scholar
Haskell, Harry. The Early Music Revival: A History. London: Thames & Hudson, 1988.Google Scholar
Hayburn, Robert. Papal Legislation on Sacred Music, 95 ad to 1977 ad. Collegeville, MN: Liturgical Press, 1979.Google Scholar
Hellauer, Susan. “You Can’t Sing a Footnote: The Continuing Adventures of Anonymous 4,” Medieval Academy News 144 (Winter 2002), 12.Google Scholar
Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.Google Scholar
Karp, Theodore. An Introduction to the Post-Tridentine Mass Proper. Middleton, WI: American Institute of Musicology, 2005.Google Scholar
Kerman, Joseph. Contemplating Music: Challenges to Musicology. Cambridge, MA: Harvard University Press, 1985.Google Scholar
Kurth, Godefroid. Histoire poétique des mérovingiens. Geneva: Slatkine, 1968; originally published 1893.Google Scholar
Laborde, Jean-Benjamin de. Essai sur la musique ancienne et moderne, 4 vols. Paris: Ph.-D. Pierres, 1780.Google Scholar
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge University Press, 2002.Google Scholar
Lug, Robert. “Minnesang: Zwischen Markt und Museum,” in Übersetzte Zeit: Das Mittelalter und die Musik des 20. Jahrhunderts, ed. Gratzer, W. and Möller, H.. Hofheim: Wolke, 2001, 117–89.Google Scholar
McGee, Timothy, ed. Singing Early Music: The Pronunciation of European Languages in the Late Middle Ages and Renaissance. Bloomington: Indiana University Press, 1996.Google Scholar
Mertens, Volker. “Wagner’s Middle Ages,” in Wagner Handbook, ed. Möller, U. and Wapnewski, P.. Cambridge, MA: Harvard University Press, 1992, 236–68.Google Scholar
Molitor, Raphael. Die Nach-Tridentinische Choral-Reform zu Rom: Ein Beitrag zur Musikgeschichte des xvi. und xvii. Jahrhunderts, vol. i. Hildesheim: G. Olms, 1976; originally published 1901.Google Scholar
Nettl, Bruno. Heartland Excursions: Ethnomusicological Reflections on Schools of Music. Urbana: University of Illinois Press, 1995.Google Scholar
Nettl, Paul. Luther and Music. New York: Russell & Russell, 1967.Google Scholar
Nivers, Guillaume-Gabriel. Dissertation sur le chant grégorien. Paris: The Author, 1683.Google Scholar
Palmer, Christopher. Miklós Rózsa: A Sketch of His Life and Work. London: Breitkopf & Härtel, 1975.Google Scholar
Pothier, Joseph. Les mélodies grégoriennes d’après la tradition. Tournai: Desclée, Lefebvre, 1880.Google Scholar
Printz, Wolfgang Caspar. Historische Beschreibung der Edelen Sing- und Kling-Kunst. Graz: Akademische Druck, 1964; originally published 1690.Google Scholar
Ranum, Patricia. “‘Le Chant doit perfectionner la prononciation, & non pas la corrompre’: L’accentuation du chant grégorien d’après les traités de Dom Jacques Le Clerc et dans le chant de Guillaume-Gabriel Nivers,” in Plain-chant et liturgie en France au XVIIe siècle, ed. Duron, J.. Versailles: Royaumont, 1997, 5983.Google Scholar
Reese, Gustave. Music in the Middle Ages. New York: W. W. Norton, 1940.Google Scholar
Robinson, Fred. The Tomb of Beowulf and Other Essays on Old English. Cambridge, MA: Blackwell, 1993.Google Scholar
Sachs, Curt. “The Road to Major,” The Musical Quarterly 29 (1943), 381404.Google Scholar
Schmitz-Gropengießer, Franke. “Ist der gregorianische Choral unprotestantisch? Zur Rezeption der Gregorianik in der evangelischen Kirche,” in Mittelalter und Mittelalterrezeption: Festschrift für Wolf Frobenius, ed. Schneider, H.. Hildesheim: Olms, 2005, 145–72.Google Scholar
Shay, Robert. “Dryden and Purcell’s King Arthur: Legend and Politics on the Restoration Stage,” in King Arthur in Music, ed. Barber, R.. Cambridge: D. S. Brewer, 2002, 922.Google Scholar
Shelemay, Kay. “Toward an Ethnomusicology of the Early Music Movement: Thoughts on Bridging Disciplines and Musical Worlds,” Ethnomusicology 45 (2001), 129.Google Scholar
Solberg, Winton. “A struggle for Control and a Moral Scandal: President Edmund J. James and the Powers of the President at the University of Illinois, 1911–14,” History of Education Quarterly 49 (2009), 3967.Google Scholar
Voss, Jürgen. Das Mittelalter im historischen Denken Frankreichs. Munich: Wilhelm Fink, 1972.Google Scholar
Wooldridge, H. E. The Oxford History of Music, vol. i: The Polyphonic Period, Part i, Method of Musical Art, 330–1400. Oxford: Clarendon Press, 1901.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×