Frontmatter

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. List of Music Examples ix
5. List of Tables xv
6. List of Contributors xvii
7. Acknowledgements xix
8. List of Music Manuscript Sigla xxi
9. Introduction 1
10. Songsters and Their Repertories
11. 1 The Progeny of Bernart de Ventadorn’s Can vei la lauzeta mover 11
12. 2 Medieval Iberian Song in its Mediterranean Context: From Andalusian Muwashshahat to the Cantigas de Santa Maria 61
13. 3 The Estampies of Douce 308 77
14. Close Readings
15. 4 Anonymous IV and the Antiqui 121
16. 5 The Development of the Latin Liturgical Psalter in England 153
17. 6 Forgotten Levers of Harmony: Where Are the Grammarians’ Claviculi? 173
18. Creating Polyphony
19. 7 The Variable-Voice Conductus 195
20. 8 Making Sense of Omnis / Habenti: An Ars Nova Motet in England 221
21. 9 Super omnes speciosa: Machaut Reading Vitry 247
22. 10 ‘The spirit moves me to speak of forms changed into new bodies’: Anton Webern, Philippe de Vitry, and the Reception of the Ars Nova Motet 271
23. 11 La belle se siet: Where Dufay and Josquin Meet 305
24. Music as Cultural Practice
25. 12 In Search of Medieval Music in Non-Western Countries 325
26. 13 Where Did Our Musical Instruments Come From? 345
27. 14 Instrumentalists and Changing Performance Contexts, c. 1500 361
28. 15 Non-Mensural Polyphony: Performing Plainsong 373
29. 16 ‘Übersingen’ and ‘Quintieren’: Non-Mensural Polyphony in Secular Repertories: Oswald von Wolkenstein and the Monk of Salzburg 385
30. 17 From Page to Sound: Performing the Masses of Walter Frye 405
31. Works Cited 435
32. Works by Christopher Page 461
33. Index 473
34. Tabula Gratulatoria 481