Manfred F. Bukofzer was born in Germany in 1910. He studied at the Conservatory in Frankfurt, and also at the University of Heidelberg, Berlin, and Basel, obtaining his doctorate in music in 1936. He came to America in 1939 and shortly after joined the faculty of the University of California at Berkeley, where he became head of the Music Department only a year before his death from leukemia in 1955.

An invaluable collection for those who read and love Lewis and medieval and Renaissance literature.

Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.

With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.

What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other -- including gender, social status, and the role of the Church -- to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.

Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.

'Music and Ceremony' reconstructs musical life at the court of Charles V, examining the compositions which emanated from the court, the ordinances which prescribed ritual and ceremony, and the Emperor's prestigious chapel which reflected his power and influence.

Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.

How did the organ become a church instrument? In this fascinating investigation Peter Williams speculates on this question and suggests some likely answers. Central to the story he uncovers is the liveliness of European monasticism around 1000 and the ability and imagination of the Benedictine reformers.

There is a striking similarity between Marian devotional songs and secular love songs of the late Middle Ages and Renaissance. Two disparate genres--one sacred, the other secular; one Latin, the other vernacular--both praise an idealized, impossibly virtuous woman. Each does so through highly stylized derivations of traditional medieval song forms--Marian prayer derived from earlier Gregorian chant, and love songs and lyrics from medieval courtly song. Yet despite their obvious similarities, the two musical and poetic traditions have rarely been studied together. Author David J. Rothenberg takes on this task with remarkable success, producing a useful and broad introduction to Marian music and liturgy, and then coupling that with an incisive comparative analysis of these devotional forms and the words and music of secular love songs of the period. The Flower of Paradise examines the interplay of Marian devotional and secular poetics within polyphonic music from ca. 1200 to ca. 1500. Through case studies of works that demonstrate a specific symbolic resonance between Marian devotion and secular song, the book illustrates the distinctive ethos of this period in European culture. Rothenberg makes use of an impressive command of liturgical and religious studies, literature and poetry, and art history to craft a study with wide application across disciplinary boundaries. With its broad scope and unique, incisive analysis, this book will open up new ways of thinking about the history and development of secular and sacred music and the Marian tradition for scholars, students, and anyone with an interest in medieval and Renaissance religious culture.