Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-2xdlg Total loading time: 0 Render date: 2024-06-16T00:59:32.009Z Has data issue: false hasContentIssue false

28 - Liturgical Polyphony after 1300

from Volume II

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

Bent, Margaret. Bologna Q15: The Making and Remaking of a Musical Manuscript. Lucca: Libreria Musicale Italiana, 2008.Google Scholar
Bent, Margaret. “The Grammar of Early Music: Preconditions for Analysis,” in Tonal Structures in Early Music, ed. Judd, Cristle Collins. New York: Garland, 1998, 1560.Google Scholar
Bent, Margaret. “A Note on the Dating of the Trémoïlle Manuscript,” in Beyond the Moon: Festschrift Luther Dittmer, ed. Gillingham, Bryan R. and Merkley, Paul A.. Ottawa: Institute of Mediaeval Music, 1990, 217–42.Google Scholar
Bent, Margaret. “Old Hall Manuscript,” in NG2, vol. xviii: 376–79.Google Scholar
Bent, Margaret. “The Old Hall Manuscript: a Paleographical Study.” Ph.D. dissertation, University of Cambridge, 1968.Google Scholar
Bent, Margaret. “The Progeny of Old Hall: More Leaves from a Royal English Choirbook,” in Gordon Athol Anderson (1929–1981) In memoriam: Von seinen Studenten, Freunden und Kollegen, ed. Dittmer, Luther. Henryville, PA: Institute of Mediaeval Music, 1984, 154.Google Scholar
Bent, Margaret. “What Is Isorhythm?” in Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner. Middleton, WI: American Institute of Musicology, 2008, 121–43.Google Scholar
Billiet, Frédéric, Ragnard, Isabelle, Picazos, Raphaël, Bagby, Benjamin, and Livljanic, Katarina. La messe de la Sorbonne. Paris and Vatican City: PUPS and Libreria Editrice Vaticana, 2012.Google Scholar
Bosse, Detlev. “Untersuchungen einstimmiger mittelalterlicher Melodien zum Gloria in excelsis deo.” Ph.D. dissertation, University of Erlangen, 1954.Google Scholar
Bowers, Roger. “Guillaume de Machaut and His Canonry of Reims,” Early Music History 23 (2004), 148.Google Scholar
Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley: University of California Press, 2005.Google Scholar
Butterfield, Ardis. The Familiar Enemy: Chaucer, Language, and Nation in the Hundred Years’ War. Oxford University Press, 2009.Google Scholar
Catalunya, David. “Music, Space and Ritual in Medieval Castile, 1221–1350.” Ph.D. dissertation, University of Würzburg, 2016.Google Scholar
Cattin, Giulio, Facchin, Francesco, and del, Maria Gómez, Carmen, eds. French Sacred Music, 2 vols., Polyphonic Music of the Fourteenth Century 23a and 23b. Monaco: Oiseau-Lyre, 1989.Google Scholar
Clark, Alice V.Concordare cum materia: The Tenor in the Fourteenth-Century Motet.” Ph.D. dissertation, Princeton University, 1996.Google Scholar
Cuthbert, Michael ScottTipping the Iceberg: Missing Italian Polyphony from the Age of Schism,” Musica Disciplina 52 (2009), 3974.Google Scholar
Cuthbert, Michael Scott “Trecento Fragments and Polyphony Beyond the Codex.” Ph.D. dissertation, Harvard University, 2006.Google Scholar
Data, Isabella and Kügle, Karl, eds. Il codice J.II.9 – The Codex J.II.9, Torino, Biblioteca Nazionale Universitaria. Lucca: LIM, 1999.Google Scholar
Dumoulin, Jean, Huglo, Michel, Mercier, Philippe, and Pycke, Jacques. La messe de Tournai. Tournai and Louvain-la-Neuve: Oleffe, 1988.Google Scholar
Earp, Lawrence. Guillaume de Machaut: A Guide to Research. New York and London: Garland, 1995.Google Scholar
Fankhauser, Eliane. “A Collection of Collections: New Insights into the Origins and Making of the Utrecht Fragments, NL-Uu 37.I.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 64 (2014), 329.Google Scholar
Muntané, Gómez, Carmen, Maria del. La música en España medieval. Kassel: Reichenberger, 2001.Google Scholar
Gozzi, Marco. “Alle origini del canto fratto: Il Credo cardinalis,” Musica e storia 14 (2006), 245301.Google Scholar
Hallmark, Anne. “Protector, imo verus pater: Francesco Zabarella’s Patronage of Johannes Ciconia,” in Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, ed. Owens, Jessie Ann and Cummings, Anthony M.. Warren, MI: Harmonie Park Press, 1996, 153–68.Google Scholar
Hartt, Jared. “Rehearing Machaut’s Motets: Taking the Next Step in Understanding Sonority,” Journal of Music Theory 54 (2010), 179234.Google Scholar
Huglo, Michel. “La messe de Tournai et la messe de Toulouse,” in Aspects de la musique liturgique au Moyen Âge, ed. Meyer, Christian. Paris: Créaphis, 1991, 221–28.Google Scholar
Kelly, Thomas F.Introducing the Gloria in excelsis,” Journal of the American Musicological Society 37 (1984), 479506.Google Scholar
Kirkman, Andrew. The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. Cambridge University Press, 2010.Google Scholar
Kirkman, Andrew. “The Invention of the Cyclic Mass,” Journal of the American Musicological Society 54 (2001), 147.Google Scholar
Körndle, Franz. “Die Bulle Docta sanctorum patrum: Überlieferung, Textgestalt und Wirkung,” Die Musikforschung 63 (2010), 147–65.Google Scholar
Kügle, Karl. “A Fresh Look at the Liturgical Settings in Manuscript Ivrea, Bibl. Cap. 115,” Revista de Musicología 16 (1993), 2452–75.CrossRefGoogle Scholar
Kügle, Karl. “Glorious Sounds for a Holy Warrior: New Light on Codex Turin J.ii.9,” Journal of the American Musicological Society 65 (2012), 637–90.Google Scholar
Kügle, Karl. The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. Ottawa: Institute of Mediaeval Music, 1997.Google Scholar
Kügle, Karl. “Vitry, Philippe de,” in MGG2, Personenteil, vol. xvii: 5867.Google Scholar
Landwehr-Melnicki, Margaretha. Das einstimmige Kyrie des lateinischen Mittelalters. Regensburg: Gustav Bosse, 1955.Google Scholar
Leach, Elizabeth Eva Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, NY: Cornell University Press, 2011.Google Scholar
Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. Oxford: Clarendon Press, 1990.Google Scholar
Lerch, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie, 2 vols. Kassel: Bärenreiter, 1987.Google Scholar
Ludwig, Friedrich. “Die mehrstimmige Messe des 14. Jahrhunderts,” Archiv für Musikwissenschaft 7 (1925), 417–35.CrossRefGoogle Scholar
Lütolf, Max. Die mehrstimmigen Ordinarium Missae-Sätze vom ausgehenden 11. bis zur Wende des 13. zum 14. Jahrhundert, 2 vols. Bern: Kommissionsverlag Paul Haupt, 1970.Google Scholar
Miazga, Tadeusz. Die Melodien des einstimmigen Credo der römisch-katholischen lateinischen Kirche: Eine Untersuchung der Melodien in den handschriftlichen Überlieferungen mit besonderer Berücksichtigung der polnischen Handschriften. Graz: Akademische Druck- und Verlagsanstalt, 1976.Google Scholar
Moll, Kevin N.Paradigms of Four-Voice Composition in the Machaut Era,” Journal of Musicological Research 22 (2003), 349–86.Google Scholar
Moll, Kevin N. “Structural Determinants in Polyphony for the Mass Ordinary from French and Related Sources (ca. 1320–1410).” Ph.D. dissertation, Stanford University, 1994.Google Scholar
Rees, Owen. “Machaut’s Mass and Sounding Number,” in Machaut’s Music: New Interpretations, ed. Leach, Elizabeth Eva. Woodbridge: Boydell & Brewer, 2003, 95110.Google Scholar
Robertson, Anne Walters Guillaume de Machaut at Reims: Context and Meaning in His Musical Works. Cambridge University Press, 2002.Google Scholar
Robertson, Anne WaltersThe Mass of Guillaume de Machaut in the Cathedral of Reims,” in Plainsong in the Age of Polyphony, ed. Kelly, Thomas F.. Cambridge University Press, 1992, 100–39.Google Scholar
Robertson, Anne WaltersThe Savior, the Woman, and the Head of the Dragon in the Caput Masses and Motets,” Journal of the American Musicological Society 59 (2006), 537630.Google Scholar
Rönnau, Klaus. Die Tropen zum Gloria in excelsis Deo. Wiesbaden: Breitkopf & Härtel, 1967.Google Scholar
Rumbold, Ian and Wright, Peter. Hermann Pötzlinger’s Music Book: The St Emmeram Codex and Its Contexts. Woodbridge: Boydell, 2009.Google Scholar
Schalz, Nicolas. Studien zur Komposition des Gloria: Musikalische Formgestaltung von der Gregorianik bis zu Monteverdi. Tutzing: Hans Schneider, 1980.Google Scholar
Schildbach, Martin. “Das einstimmige Agnus Dei und seine handschriftliche Überlieferung vom 10. bis zum 16. Jahrhundert.” Ph.D. dissertation, University of Erlangen, 1967.Google Scholar
Schmid, Bernhold. Der Gloria-Tropus Spiritus et alme bis zur Mitte des 15. Jahrhunderts, 2 vols. Tutzing: Hans Schneider, 1988.Google Scholar
Senn, Frank C. Christian Liturgy: Catholic and Evangelical. Minneapolis, MN: Fortress Press, 1997.Google Scholar
Stäblein-Harder, Hanna. Fourteenth-Century Mass Music in France, Corpus Mensurabilis Musicae 29 (edition) and Musicological Studies and Documents 7 (critical text). n.p.: American Institute of Musicology, 1962.Google Scholar
Stone, Anne. The Manuscript Modena, Biblioteca Estense, α.M.5.24, facsimile and commentary volume. Lucca: Libreria Musicale Italiana, 2003 (facsimile), and 2005 (commentary volume).Google Scholar
Strohm, Reinhard. “Intentions to Transmit: Cultural History and the Early Trent Codices,” in Music and Culture in the Age of the Council of Basel, ed. Nanni, Matteo. Turnhout: Brepols, 2013, 111–33.Google Scholar
Strohm, Reinhard. Music in Late Medieval Bruges. Oxford: Clarendon Press, 1985.Google Scholar
Strohm, Reinhard. “Zur Entstehung der Trienter Codices: Philologie und Kulturgeschichte,” in Gestalt und Entstehung musikalischer Quellen im 15. und 16. Jahrhundert, ed. Staehelin, Martin. Wiesbaden: Harrassowitz, 1998, 1120.Google Scholar
Thannabaur, Peter Josef Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. und 16. Jahrhunderts. Munich: Walter Ricke, 1962.Google Scholar
Tomasello, Andrew. Music and Ritual at Papal Avignon, 1309–1403. Ann Arbor: UMI Research Press, 1983.Google Scholar
Wegman, Rob C.New Light on Secular Polyphony at the Court of Holland in the Early Fifteenth Century: The Amsterdam Fragments,” Journal of the Royal Musical Association 102 (1992), 181207.CrossRefGoogle Scholar
Welker, Lorenz. Musik am Oberrhein im späten Mittelalter: Die Handschrift Strasbourg, olim Bibliothèque de la Ville, C. 22. Habilitationsschrift (unpublished), University of Basel, 1993.Google Scholar
Wright, PeterOn the Origins of Trent 871 and 922,” Early Music History 6 (1986), 245–70.Google Scholar
Wright, PeterTrent 87 and 92: Questions of Origin, Repertory and Physical Make-Up,” in Music and Culture in the Age of the Council of Basel, ed. Nanni, Matteo. Turnhout: Brepols, 2013, 111–33.Google Scholar
Wright, PeterWatermarks and Musicology: The Genesis of Johannes Wiser’s Collection,” Early Music History 22 (2003), 247332.CrossRefGoogle 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
×