By James McKinnon
From the sequence reading the advance of track in particular locations in the course of specific instances, this e-book seems to be at historical and medieval song, from Classical and Christian antiquity to the emergence of the Gregorian chant and the medieval city and Court.
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Additional resources for Antiquity and the Middle Ages: From Ancient Greece to the 15th century
One eminent modern author, in discussing the early growth of certain musical genres, repeatedly counterpoises the 'traditional' forms of the remotest past with the 'literary compositions' of the more advanced culture we are studying. 5 This approach to the contrast is misleading. 'Literary composition' is a category that later Greeks would have recognized, but it was not as literature that the archaic poet-composer's work was valued. His written text was at most a partial blueprint for something that confronted the senses more directly, not a poem to be read, but a performance.
First it is necessary to improve, ever so slightly, the periodization of the Middle Ages that confines itself to the Romanesque and Gothic. One text extends the musical Romanesque backwards to include not only the Carolingians but Gregory I and St Ambrose. The primitive 23 Antiquity and the Middle Ages 7. 4) and is an example of the Carolingian classicizing tendency historiography displayed here has an amusing correspondence with the origins of the term 'Romanesque', which was adopted in the nineteenth century to cover the architecture of the period between antiquity and the rise of Gothic.
IMPERIAL, ROMANESQUE, GOTHIC, 800-1270 A number of music history texts label their chapters on medieval music 'Music of the Romanesque' and 'Music ofthe Gothic'. The use ofthese terms, not without problems in their original contexts of art history, is particularly puzzling in a musical context because the authors make little or no attempt to explain what they mean. Certainly to do so would be no easy task; it appears on the face of it that medieval music in its various stages, whether monophonic or polyphonic, is plainly and simply lacking in qualities that one would specify as Romanesque or Gothic.