First published in 1998, this volume brings together the most part of the author’s work on medieval polyphony. The most significant advance in music during the period in the High Gothic was the development of a system of rhythm and of its notation, the modern understanding of which was to a considerable extent obscured by an undue emphasis on the so-called rhythmic modes. The investigation of this topic forms the centre of this book, and a related essay deals with rhythmic Latin poetry. Other pieces survey the accomplishments of Europe’s first great composer and the flourishing of the medieval motet, whose rise he stimulated, while several essays focus on English polyphony, and on what remains of the motets of Philippe de Vitry, a major figure in Parisian intellectual circles of the 14th century.

First published in 1998, this volume brings together the most part of the author’s work on medieval polyphony. The most significant advance in music during the period in the High Gothic was the development of a system of rhythm and of its notation, the modern understanding of which was to a considerable extent obscured by an undue emphasis on the so-called rhythmic modes. The investigation of this topic forms the centre of this book, and a related essay deals with rhythmic Latin poetry. Other pieces survey the accomplishments of Europe’s first great composer and the flourishing of the medieval motet, whose rise he stimulated, while several essays focus on English polyphony, and on what remains of the motets of Philippe de Vitry, a major figure in Parisian intellectual circles of the 14th century.

From its origins in the thirteenth century, the Latin-texted motet in England and France became the most significant and diverse polyphonic genre of the fourteenth, a body of music important both for its texts and its variety of musical structures. However, although the motet in England plays a vital role in the music-historical narrative of the first decades of the 1300s, it has too often been overlooked in modern scholarship, due largely to its preservation in numerous but almost entirely fragmentary sources.0In 2017, substantial new fragments of medieval polyphony came to light. They originated at the Benedictine monastery of Abbotsbury, a major institution located high above Chesil Beach on Dorset's Jurassic Coast. The two leaves once headed an imposing musical scroll, and preserve significant portions of four large-scale Latin-texted motets from early fourteenth-century England.0This book introduces the manuscript and its provenance in Abbotsbury, relates it to other scrolls of late medieval music, contextualizes its motets within the larger corpus of contemporary Latin-texted motets, and analyses and reconstructs each of the motets, providing complete performable transcriptions of three of these compositions as well as three of its large-scale comparands. Spurred by the Dorset discovery, this monograph, the first in thirty-five years devoted to the medieval motet in England, offers a new evaluation of the richness of the English repertory in its own terms.

The essays in this volume offer diverse, innovative approaches to medieval music and culture.

In the early fourteenth century, musicians in France and later Italy established new traditions of secular and sacred polyphony. This ars nova, or "new art," popularized by theorists such as Philippe de Vitry and Johannes de Muris was the among the first of many later movements to establish the music of the present as a clean break from the past. The rich music of this period, by composers such as Guillaume de Machaut and Francesco Landini, is not only beautiful, but also rewards deep study and analysis. Yet contradictions and gaps abound in the ars nova of the fourteenth and early fifteenth centuries-how do we read this music? how do we perform this music? what was the cultural context of these performances? These problems are well met by the ingenuity of approaches and solutions found by scholars in this volume. The twenty-seven articles brought together reflect the broad methodological and chronological range of scholarly inquiry on the ars nova.

In this collection of essays Mary Cyr explores some of the written and unwritten performance conventions that applied to French and English music of the 17th and early 18th centuries. Using composers' own notations, marks added by 18th-century performers, historical treatises, and pictorial evidence, she investigates both vocal and instrumental genres, including opera, cantatas, instrumental chamber music, and solo music for the viol and violin. Some of the performance conventions remain controversial, such as the use of gesture by the French opera chorus, and others are still little-known, such as the use of the double bass for rhythmic and harmonic support in early 18th-century French opera. As many of these essays demonstrate, French Baroque music allowed performers a wider latitude of nuance and expression than is often assumed today. The essays in this volume will be of particular interest to scholars and performers who are interested in adopting a historically-informed approach to performing music by Henry Purcell, Élisabeth-Claude Jacquet de La Guerre, Jean-Philippe Rameau, and their contemporaries. Several studies also deal with attributions, sources, and the discovery of a cantata by Rameau.

The differences between Old-Roman, Ambrosian, Aquileian, Gallican, and Hispanic chant, and their interconnections with each other and the Gregorian chant occupied Michel Huglo in his early career, although he returned to these questions in the 1980s and 1990s. The present volume, the second in the set of four to be published in the Variorum series, brings all this work together. Huglo's 1954 article, the first to describe the sources for Old Roman chant, recognized as distinct from Gregorian chant, is of primary significance for the historiography of Western plainchant, because it opened the debate on the relationship between Old Roman and Gregorian chant. The final section presents articles on the Latin version of the Akathistos hymn and on Byzantine chants translated into Latin that became part of the Western plainchant repertory. Les différences entre les répertoires Vieux-romain, Ambrosien, Aquiléien, Gallican et Hispanique, leurs influences réciproques et leurs relations avec le chant grégorien ont occupé Michel Huglo au début de sa carrière: il revint sur ces questions dans les années 1980 et 1990. Ce volume, le deuxième d'une série de quatre dans la collection Variorum, réunit toutes ces études. L'article de 1954 de Michel Huglo sur les sources du chant Vieux-romain, considéré comme distinct du grégorien, est de première importance pour l'historiographie du plain-chant occidental, car il a ouvert les débats sur le rapport entre Vieux-romain et grégorien. Les articles sur la version latine de l'Hymne Acathiste et sur les pièces de chant byzantin traduites en latin dans les répertoires occidentaux du plain-chant achèvent ce volume.

A Library Journal Starred Review (March 2024) praises the book as a "remarkable resource that will please both musical professionals and amateurs, along with teachers and their students, and conductors and singers.” Throughout the ages, people have wanted to sing in a communal context. This desire apparently stems from a deeply rooted human instinct. Consequently, choral performance historically has often been related to human rituals and ceremonies, especially rites of a religious nature. Historical Dictionary of Choral Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1,300 cross-referenced entries on composers, conductors, choral ensembles, choral genres, and choral repertoire. This book is an excellent resource for students, researchers, and anyone wanting to know more about choral music.

This collection of reprinted essays starts from the author's doctoral research on Jacopo Peri and the rise of opera and solo song in late sixteenth- and early seventeenth-century Florence. It extends to broader issues concerning music and patronage in the city as they affected individual composers, patrons and institutions, and thence to the commerce of music printing and the book trade. It concludes with an attempt to suggest a broader view of these various issues as they impact upon musical life in the 'provinces' in Tuscany. There is a great deal of new documentary and other information here, but the aim is also to expand methodological horizons so as to prompt new ways of thinking about music in its contexts.

The first articles here focus on Johannes Tinctoris, the prominent late 15th-century music theorist. They deal with the discovery of his lost pedagogical motet, and his treatise on counterpoint; this forms the basis of a wide-ranging investigation of contemporary practices of improvisation and composition (singing super librum and writing res facta), in which the question of ’successive’ and ’simultaneous’ composition is reconsidered. Tinctoris's sometimes sharp rebukes to famous composers are also investigated in the context of works by Ockeghem. Ottaviano Petrucci's first publication of music, the ’Odhecaton’ of 1501, is the subject of another three articles. These identify the editor of the work, and make new proposals on the provenance and editing of this repertory. The last article presents an edition of a treatise of ca. 1600 in the form of a letter from the virtuoso cornettist Luigi Zenobi to an unknown prince, which offers new insights on the change in performance practice at the end of the Renaissance.