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Author:   Anna Maria Busse Berger (University of California, Davis) ,  Jesse Rodin (Stanford University, California)
Publisher:   Cambridge University Press
Imprint:   Cambridge University Press
Dimensions:   Width: 15.20cm , Height: 5.60cm , Length: 23.00cm
Weight:   1.300kg
ISBN:  

9781108791885

ISBN 10:   1108791883
Pages:   911
Publication Date:   09 January 2020
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

Introduction Anna Maria Busse Berger and Jesse Rodin; Part I. Historiography: (a) Listening: 1. Hearing Josquin hearing Busnoys Michael Long; 2. Religion and the senses in fifteenth-century Europe Klaus Pietschmann; (b) Terms and Concepts: 3. The work concept Laurenz Lütteken; 4. The L'homme armé tradition – and the limits of musical borrowing Jesse Rodin; (c) Composer Studies: 5. Guillaume Du Fay: evidence and interpretation Alejandro Enrique Planchart; 6. Jean d'Ockeghem Lawrence F. Bernstein; 7. Josquin and epistemology Jesse Rodin; Part II. Improvisation and Composition: 8. Oral composition in fifteenth-century music Anna Maria Busse Berger; 9. Improvisation as concept and musical practice in the fifteenth century Philippe Canguilhem; 10. How did Oswald von Wolkenstein make his contrafacta? Anna Maria Busse Berger; 11. Making a motet: Josquin's Ave Maria…virgo serena John Milsom; 12. The origins of pervasive imitation Julie E. Cumming and Peter Schubert; Part III. Humanism: 13. Humanism and music in Italy James Hankins; 14. Fifteenth-century humanism and music outside Italy Reinhard Strohm; 15. Poetic humanism and music in the fifteenth century Leofranc Holford-Strevens; 16. Canterino and Improvvisatore: oral poetry and performance Blake Wilson; 17. Liturgical Humanism: saints' offices from the Italian peninsula in the fifteenth century Alison K. Frazier; Part IV. Music and Other Arts: 18. Architecture and music in fifteenth-century Italy Deborah Howard; 19. Music and feasts in the fifteenth century Anthony M. Cummings; 20. French lyrics and songs for the New Year, c.1380–1420 Yolanda Plumley; Part V. Music in Churches, Courts, and Cities: 21. Musical institutions in the fifteenth century and their political contexts Klaus Pietschmann; 22. Music and musicians at the Burgundian court in the fifteenth century David Fiala; 23. The papal chapel in the late fifteenth century Richard Sherr; 24. The beneficial system and fifteenth-century polyphony Pamela F. Starr; 25. Professional women singers in the fifteenth century: a tale of two Annas Bonnie J. Blackburn; 26. Savonarola and the boys of Florence: songs and politics Patrick Macey; Part VI. Religious Devotion and Liturgy: 27. Music and ritual M. Jennifer Bloxam; 28. Marian devotion in the fifteenth century David J. Rothenberg; 29. Affective literature and sacred themes in fifteenth-century music Anne Walters Robertson; Part VII. Theory and Practice: 30. Measuring measurable music in the fifteenth century Anne Stone; 31. The transformative impulse Emily Zazulia; 32. Transformations in music theory and music treatises Evan A. MacCarthy; Part VIII. Sources: 33. Polyphonic sources, c.1400–50 Margaret Bent; 34. Polyphonic sources, c.1450–1500 Thomas Schmidt-Beste; Part IX. Genres: 35. The polyphonic mass in the fifteenth century Andrew Kirkman; 36. The fifteenth-century motet Laurenz Lütteken; 37. Fifteenth-century song Nicole Schwindt; 38. Instrumental music in the fifteenth century Keith Polk; 39. Sacred song in the fifteenth century: cantio, carol, lauda, Kirchenlied Reinhard Strohm; 40. Plainsong in the age of polyphony Richard Sherr; Part X. Reception: 41. The most popular songs of the fifteenth century David Fallows; 42. The nineteenth-century reception of fifteenth-century sacred music Andrew Kirkman; 43. The modern reception of the music of Jean d'Ockeghem Lawrence F. Bernstein; 44. Recordings of fifteenth-century music Honey Meconi; 45. Solidarity with the long-departed: fifteenth-century echoes in twentieth-century music Richard Taruskin.

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Author Information

Anna Maria Busse Berger is Professor of Medieval and Renaissance Music History and Theory at the University of California, Davis. She has published articles and books on notation, mensuration and proportion signs, mathematics and music, and music and memory. In 1997 she was awarded a Guggenheim Fellowship; in 2005–6 she was the Lehman Visiting Professor at Villa I Tatti, Florence. She won the Alfred Einstein Award for the best article by a young scholar in 1991, and, in 2006, the Wallace Berry Award for the best book from the Society for Music Theory and an ASCAP Deems Taylor Award for her book Medieval Music and the Art of Memory (2005; Italian translation, 2008). In 2014 she won the Colin Slim Award from the American Musicological Society and the Bruno Nettl Award from the Society for Ethnomusicology. In 2011–12 she was the Lise Meitner Fellow at the University of Vienna, where she worked on her current project on 'Music in Mission Stations in East Africa'. Currently she is a Fellow at Wissenschaftskolleg zu Berlin. Jesse Rodin is Associate Professor of Music at Stanford University. He is the author of Josquin's Rome: Hearing and Composing in the Sistine Chapel (2012) and a volume of L'homme armé masses for the New Josquin Edition (2014). He directs the Josquin Research Project (josquin.stanford.edu), a digital search-and-analysis tool for exploring a large corpus of Renaissance music, and Cut Circle (cutcircle.org), a vocal ensemble performing fifteenth-century music. His work has been recognized with awards and fellowships by the American Musicological Society, the American Council of Learned Societies, and the American Society of Composers, Authors, and Publishers. Current projects include a monograph on 'form' in fifteenth-century music (Cambridge), and a recording of the four late cyclic masses of Guillaume Du Fay (Cut Circle and Musique en Wallonie).

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