The Oxford History of Western Music, Volume 1: The Earliest Notations to the Sixteenth century

Description

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices. Unlike earlier surveys, Taruskin provides greater attention to the full range of 20th century music, including American music as part of the mainstream tradition of western music, women in music, and popular music. The five volumes of main text each have musical examples and black-and-white pictures throughout, source notes, and an index. The sixth volume contains a comprehensive chronology, further reading, and an index to the entire set. LITERACY......Page 1 THE ROMANS AND THE FRANKS......Page 4 THE CAROLINGIAN RENAISSANCE......Page 7 THE CHANT COMES NORTH......Page 9 THE LEGEND OF ST. GREGORY......Page 12 THE ORIGINS OF GREGORIAN CHANT......Page 15 Notes:......Page 17 MONASTIC PSALMODY......Page 18 Notes:......Page 20 THE DEVELOPMENT OF THE LITURGY......Page 22 Notes:......Page 25 THE MASS AND ITS MUSIC......Page 26 NEUMES......Page 28 Notes:......Page 32 PERSISTENCE OF ORAL TRADITION......Page 34 PSALMODY IN PRACTICE: THE OFFICE......Page 40 PSALMODY IN PRACTICE: THE MASS......Page 46 EVIDENCE OF “ORAL COMPOSITION”......Page 50 Notes:......Page 55 WHY WE WILL NEVER KNOW HOW IT ALL BEGAN......Page 56 BEGINNINGS, AS FAR AS WE KNOW THEM......Page 61 Notes:......Page 67 LONGISSIMAE MELODIAE......Page 69 Notes:......Page 75 PROSA......Page 77 Notes:......Page 80 SEQUENCES......Page 81 HOW THEY WERE PERFORMED......Page 84 HYMNS......Page 91 TROPES......Page 95 THE MASS ORDINARY......Page 100 KYRIES......Page 108 Notes:......Page 111 THE FULL FRANKO-ROMAN MASS......Page 113 “OLD ROMAN” AND OTHER CHANT DIALECTS......Page 114 Notes:......Page 118 WHAT IS ART?......Page 119 Notes:......Page 123 MUSICA......Page 124 Notes:......Page 129 TONARIES......Page 131 A NEW CONCEPT OF MODE......Page 138 MODE CLASSIFICATION IN PRACTICE......Page 141 MODE AS A GUIDE TO COMPOSITION......Page 145 VERSUS......Page 156 LITURGICAL DRAMA......Page 167 MARIAN ANTIPHONS......Page 170 THEORY AND THE ART OF TEACHING......Page 176 Notes:......Page 184 BINARISMS......Page 186 Notes:......Page 187 TROUBADOURS......Page 189 MINSTRELS......Page 194 HIGH (LATINATE) AND LOW (“POPULAR”) STYLE......Page 197 RHYTHM AND METER......Page 202 TROBAR CLUS......Page 203 Notes:......Page 205 TROUVèRES......Page 207 SOCIAL TRANSFORMATION......Page 210 ADAM DE LA HALLE AND THE FORMES FIXES......Page 215 THE FIRST OPERA?......Page 221 CANTIGAS......Page 224 A NOTE ON INSTRUMENTS......Page 226 LAUDE AND RELATED GENRES......Page 232 MINNESANG......Page 234 POPULARIZATION, THEN AND SINCE......Page 238 MEISTERSINGER......Page 240 PEOPLES AND NATIONS......Page 243 WHAT AS AN ANACHRONISM?......Page 246 PHILOSOPHY OF HISTORY......Page 249 Notes:......Page 252 ANOTHER RENAISSANCE......Page 253 Notes:......Page 255 “SYMPHONIA” AND ITS MODIFICATIONS......Page 257 Notes:......Page 263 GUIDO, JOHN, AND DISCANT......Page 265 POLYPHONY IN AQUITANIAN MONASTIC CENTERS......Page 270 Notes:......Page 278 THE CODEX CALIXTINUS......Page 280 THE CATHEDRAL-UNIVERSITY COMPLEX......Page 290 Notes:......Page 295 PIECING THE EVIDENCE TOGETHER......Page 297 Notes:......Page 301 MEASURED MUSIC......Page 303 WHYS AND WHEREFORES......Page 316 Notes:......Page 321 ORGANUM CUM ALIO......Page 322 THEORY OR PRACTICE?......Page 336 Notes:......Page 339 CONDUCTUS AT NOTRE DAME......Page 340 Notes:......Page 349 A NEW CLASS......Page 350 Notes:......Page 353 THE NASCENT MOTET......Page 355 “FRANCONIAN” NOTATION......Page 362 CONFLUENCE OF TRADITIONS......Page 370 Notes:......Page 376 A NEW TROBAR CLUS?......Page 377 Notes:......Page 387 TENOR “FAMILIES”......Page 388 COLOR AND TALEA......Page 390 THE ART OF MéLANGE......Page 397 THE “PETRONIAN” MOTET......Page 404 A “NEW ART OF MUSIC”?......Page 415 Notes:......Page 417 MUSIC FROM MATHEMATICS......Page 418 PUTTING IT INTO PRACTICE......Page 422 REPRESENTING IT......Page 425 Notes:......Page 427 BACKLASH......Page 429 Notes:......Page 430 ESTABLISHING THE PROTOTYPE: THE ROMAN DE FAUVEL......Page 431 Notes:......Page 438 TAKING A CLOSER LOOK......Page 439 MORE ELABORATE PATTERNING......Page 442 Notes:......Page 448 ISORHYTHM......Page 450 MUSIC ABOUT MUSIC......Page 452 MACHAUT: THE OCCULT AND THE SENSUOUS......Page 458 Notes:......Page 462 MUSICA FICTA......Page 463 CADENCES......Page 468 CICONIA: THE MOTET AS POLITICAL SHOW......Page 470 Notes:......Page 475 DU FAY: THE MOTET AS MYSTICAL SUMMA......Page 477 Notes:......Page 484 A FINAL WORD FROM DANTE......Page 485 Notes:......Page 486 MAINTAINING THE ART OF COURTLY SONG......Page 488 REDEFINING (AND RE-REFINING) A GENRE......Page 492 THE TOP-DOWN STYLE......Page 498 CANTILENA......Page 504 FUNCTIONALLY DIFFERENTIATED COUNTERPOINT......Page 506 THE LUXURIANT STYLE......Page 511 WHAT INSTRUMENTALISTS DID......Page 518 MACHAUT’S MASS AND ITS BACKGROUND......Page 521 AVIGNON......Page 522 Notes:......Page 532 VOTIVE FORMULARIES......Page 533 CI COMMENCE LA MESSE DE NOSTRE DAME......Page 537 KYRIE......Page 545 GLORIA......Page 551 Notes:......Page 552 DISMISSAL......Page 554 SUBTILITAS......Page 555 CANON......Page 562 ARS SUBTILIOR......Page 570 Notes:......Page 578 BERRY AND FOIX......Page 579 OUTPOSTS......Page 585 FAUX-NAïVETé......Page 592 VULGAR ELOQUENCE......Page 595 Notes:......Page 600 MADRIGAL CULTURE......Page 601 Notes:......Page 605 A NEW DISCANT STYLE......Page 606 Notes:......Page 610 THE “WILD BIRD” SONGS......Page 611 BALLATA CULTURE......Page 619 LANDINI......Page 623 Notes:......Page 632 LATE-CENTURY FUSION......Page 634 AN IMPORTANT SIDE ISSUE: PERIODIZATION......Page 642 Notes:......Page 649 THE FIRST MASTERPIECE?......Page 651 Notes:......Page 657 VIKING HARMONY......Page 659 INSULAR FAUNA?......Page 665 PES MOTETS AND RONDELLUS......Page 670 Notes:......Page 673 THE WORCESTER FRAGMENTS......Page 675 NATIONALISM?......Page 678 “ENGLISH DESCANT”......Page 682 THE BEGINNINGS OF “FUNCTIONAL” HARMONY?......Page 685 OLD HALL AND ROY HENRY......Page 688 Notes:......Page 699 FORTUNES OF WAR......Page 701 Notes:......Page 707 DUNSTABLE AND THE “CONTENANCE ANGLOISE”......Page 708 Notes:......Page 718 VOLUPTUOUSNESS AND HOW TO ACQUIRE IT......Page 719 Notes:......Page 727 FAUXBOURDON AND FABURDEN......Page 728 DU FAY AND BINCHOIS......Page 735 Notes:......Page 752 THE INTERNATIONALISM OF THE UPPER CRUST......Page 754 THE “TINCTORIS GENERATION”......Page 760 THE CYCLIC MASS......Page 769 Notes:......Page 771 CANTUS FIRMUS AS TROPE OF GLORY......Page 772 “CAPUT” AND THE BEGINNINGS OF FOUR-PART HARMONY......Page 777 HOW CONTROVERSIES ARISE (AND WHAT THEY REVEAL)......Page 786 PATTERNS OF EMULATION......Page 789 Notes:......Page 795 THE COMPOSER AS VIRTUOSO......Page 796 Notes:......Page 801 FARTHER ALONG THE EMULATION CHAIN......Page 803 THE MAN AT ARMS......Page 807 Notes:......Page 816 “PERVADING IMITATION”......Page 818 AN ESTHETIC PARADOX (OR, THE PARADOX OF “ESTHETICS”)......Page 828 Notes:......Page 830 OLD AND YOUNG ALIKE PAY TRIBUTE......Page 831 Notes:......Page 835 HAILING MARY......Page 837 PERSONAL PRAYER......Page 846 THE ENGLISH KEEP THINGS HIGH......Page 856 Notes:......Page 863 THE MILANESE GO LOWER STILL......Page 864 Notes:......Page 871 FUN IN CHURCH?......Page 872 LOVE SONGS......Page 877 INSTRUMENTAL MUSIC BECOMES LITERATE AT LAST......Page 889 Notes:......Page 900 MUSIC BECOMES A BUSINESS......Page 901 “SONGS” WITHOUT WORDS......Page 903 WHAT LEGENDS DO......Page 910 Notes:......Page 913 A POET BORN NOT MADE......Page 915 Notes:......Page 920 JOSQUIN AS THE SPIRIT OF A (LATER) AGE......Page 921 Notes:......Page 922 RECYCLING THE LEGEND BACK INTO MUSIC......Page 924 Notes:......Page 927 WHAT JOSQUIN WAS REALLY LIKE......Page 928 Notes:......Page 940 A MODEL MASTERPIECE......Page 942 PARODIES......Page 953 Notes:......Page 959 FACTS AND MYTHS......Page 960 Notes:......Page 972 ALL IS KNOWN......Page 974 Notes:......Page 978 THE TRIAD COMES OF AGE......Page 980 Notes:......Page 982 “IL ECCELENTISSIMO ADRIANO” AND HIS CONTEMPORARIES......Page 983 Notes:......Page 985 GOMBERT......Page 986 Notes:......Page 992 CLEMENS......Page 994 Notes:......Page 1002 WILLAERT AND THE ART OF TRANSITION......Page 1003 THE PROGRESS OF A METHOD......Page 1010 Notes:......Page 1016 ACADEMIC ART......Page 1017 SPATIALIZED FORM......Page 1022 ALTERNATIVES TO PERFECTION......Page 1025 Notes:......Page 1033 PEEKING BEHIND THE CURTAIN......Page 1035 DANCES OLD AND NEW......Page 1041 Notes:......Page 1052 UTOPIA......Page 1053 PALESTRINA AND THE ECUMENICAL TRADITION......Page 1056 Notes:......Page 1059 BESTING THE FLEMINGS; OR, THE LAST OF THE TENORISTAS......Page 1061 Notes:......Page 1073 PARODY PAIRS......Page 1075 PALESTRINA AND THE BISHOPS......Page 1079 Notes:......Page 1091 FREEDOM AND CONSTRAINT......Page 1093 CRYOGENICS......Page 1109 Notes:......Page 1119 BYRD......Page 1120 CHURCH AND STATE......Page 1122 Notes:......Page 1129 THE FIRST ENGLISH COSMOPOLITE......Page 1130 Notes:......Page 1135 THE MUSIC OF DEFIANCE......Page 1137 Notes:......Page 1139 MUSICAL HERMENEUTICS......Page 1141 THE PEAK (AND LIMIT) OF STYLISTIC REFINEMENT......Page 1150 MUSIC PRINTERS AND THEIR AUDIENCE......Page 1156 Notes:......Page 1161 VERNACULAR SONG GENRES: ITALY......Page 1163 Notes:......Page 1173 GERMANY: THE TENORLIED......Page 1174 THE “PARISIAN” CHANSON......Page 1181 Notes:......Page 1185 MUSIC AS DESCRIPTION......Page 1187 LASSO: THE COSMOPOLITE SUPREME......Page 1192 Notes:......Page 1205 THE LITERARY REVOLUTION AND THE RETURN OF THE MADRIGAL......Page 1206 Notes:......Page 1209 “MADRIGALISM” IN PRACTICE......Page 1211 PARADOX AND CONTRADICTION......Page 1219 EXTERIOR “NATURE” AND INTERIOR “AFFECT”......Page 1228 Notes:......Page 1239 POSTSCRIPT: THE ENGLISH MADRIGAL......Page 1241 Notes:......Page 1258 THE CHALLENGE......Page 1260 Notes:......Page 1268 THE LUTHERAN CHORALE......Page 1269 Notes:......Page 1285 THE RESPONSE......Page 1286 Notes:......Page 1297 AUGENMUSIK......Page 1298 “CONCERTED” MUSIC......Page 1302 Notes:......Page 1306 THE ART OF ORCHESTRATION IS BORN......Page 1308 “SONGS” FOR INSTRUMENTS......Page 1316 Notes:......Page 1329 THE TECHNICAL, THE ESTHETIC, AND THE IDEOLOGICAL......Page 1330 ACADEMIES......Page 1333 Notes:......Page 1338 THE REPRESENTATIONAL STYLE......Page 1340 Notes:......Page 1342 INTERMEDII......Page 1343 Notes:......Page 1347 THE “MONODIC REVOLUTION”......Page 1349 Notes:......Page 1358 MADRIGALS AND ARIAS REDUX......Page 1359 Notes:......Page 1373 FAVOLE IN MUSICA......Page 1375 Notes:......Page 1390 ORATORIO......Page 1392