Pub Date : 2017-10-01DOI: 10.1017/S0961137117000110
J. Borders
here; in other words, whether the textual expressivity here stimulates a rare musical gesture. Playing with, and overcoming, our cadential expectations may have had a deliberately expressive, and not only formal, effect. While I do not wish to argue that this was always the case, I believe semantic relations cannot be eliminated from the consideration of cadential articulation, let alone musico-textual relationships in this period in general. Overall, this book successfully accomplishes its aim to provide a solid methodological base for future critical editions of the repertory under consideration. The first editorial fruits of this consolidated effort can be seen in the critical editions appended to the book: the settings of La fiera testa by Bartolino and Nicolò and Bartolino’s La douce çere. These editions present text first (edited by Maria Sofia Lannutti), then the musical setting (edited by Maria Caraci Vela, Antonio Calvia and Michele Epifani), both accompanied with an extensive and meticulous critical apparatus. The quality of this collaborative effort is admirable, and is perhaps the best evidence of this book’s success. In the musical editions, I would further clarify the potential use of ficta for some cadential progressions. One significant error crept into these otherwise impeccable editions: in Bartolino’s La fiera testa (pp. 292–4), the tenor d in bar 92, taken from the manuscript Pit (BNF ital. 568), creates the unsupported fourth d/g in the two-voice counterpoint, which is easily removed with the c offered in Sq (Florence, Biblioteca Medicea Laurenziana, Palatino 87). As for the other aim set in the first part of the title (Musica e poesia), the book leaves some room for further studies and for different approaches. The focus here is mostly on formal coordination of music and text, with the semantic potential of this interrelation receiving only a few brilliant insights in Calvia’s and Epifani’s articles – the insights that seem to prove that a further research in this direction may bear more fruit. This need to incorporate the semantic aspect is particularly noticeable in the contrapunctus studies that at times seem to adhere to the view that contrapuntal rules and exceptions are themselves inherently musical, rather than trying to explore them (particularly the exceptions) in relation to poetic content. This focus is entirely appropriate for a book that aims to signal future critical editions (in the second part of its title), but one thirsts for more comprehensive covering of the conjunction of ‘musica e poesia’ offered in the main title.
在这里换句话说，这里的文本表现力是否激发了一种罕见的音乐姿态。玩弄和克服我们抑扬顿挫的期望可能会产生一种刻意表达的效果，而不仅仅是形式上的效果。虽然我不想争辩说一直都是这样，但我认为语义关系不能从抑扬顿挫的发音中排除，更不用说这个时期的音乐文本关系了。总的来说，这本书成功地实现了它的目标，为正在考虑的剧目的未来批判性版本提供了坚实的方法基础。这一综合努力的第一个编辑成果可以在本书的评论版中看到：巴托利诺和尼科洛的《La fiera testa》的背景以及巴托利诺的《La douceçere》。这些版本首先呈现文本（由Maria Sofia Lannutti编辑），然后呈现音乐背景（由MariaCaraci Vela、Antonio Calvia和Michele Epifani编辑），两者都伴随着广泛而细致的批判工具。这种合作的质量令人钦佩，也许是这本书成功的最好证据。在音乐版中，我会进一步澄清ficta在一些抑扬顿挫的进行曲中的潜在用途。这些原本无可挑剔的版本中出现了一个重大错误：在Bartolino的《La fiera testa》（第292–4页）中，第92小节中的男高音d取自手稿《Pit》（BNF ital.568），在两个声音的对位中创建了无支撑的第四个d/g，这很容易被Sq中提供的c删除（Florence，Biblioteca Medicea Laurenziana，Palatino 87）。至于标题第一部分设定的另一个目标（Musica e poesia），这本书为进一步研究和不同的方法留下了一些空间。这里的重点主要是音乐和文本的形式协调，这种相互关系的语义潜力在Calvia和Epifani的文章中只得到了一些精彩的见解——这些见解似乎证明了在这个方向上的进一步研究可能会取得更多成果。这种融入语义方面的需要在对位研究中尤为明显，这些研究有时似乎坚持对位规则和例外本身就是音乐性的，而不是试图探索它们（尤其是例外）与诗歌内容的关系。这种关注点完全适合一本旨在预示未来批判性版本的书（在书名的第二部分），但人们渴望更全面地涵盖主标题中提供的“音乐与诗歌”的结合。
{"title":"Henry Parkes, The Making of Liturgy in the Ottonian Church: Books, Music and Ritual in Mainz, 950–1050. Cambridge: Cambridge University Press, 2015. xvi + 259 pp. £67. ISBN 978 1 107 08302 8.","authors":"J. Borders","doi":"10.1017/S0961137117000110","DOIUrl":"https://doi.org/10.1017/S0961137117000110","url":null,"abstract":"here; in other words, whether the textual expressivity here stimulates a rare musical gesture. Playing with, and overcoming, our cadential expectations may have had a deliberately expressive, and not only formal, effect. While I do not wish to argue that this was always the case, I believe semantic relations cannot be eliminated from the consideration of cadential articulation, let alone musico-textual relationships in this period in general. Overall, this book successfully accomplishes its aim to provide a solid methodological base for future critical editions of the repertory under consideration. The first editorial fruits of this consolidated effort can be seen in the critical editions appended to the book: the settings of La fiera testa by Bartolino and Nicolò and Bartolino’s La douce çere. These editions present text first (edited by Maria Sofia Lannutti), then the musical setting (edited by Maria Caraci Vela, Antonio Calvia and Michele Epifani), both accompanied with an extensive and meticulous critical apparatus. The quality of this collaborative effort is admirable, and is perhaps the best evidence of this book’s success. In the musical editions, I would further clarify the potential use of ficta for some cadential progressions. One significant error crept into these otherwise impeccable editions: in Bartolino’s La fiera testa (pp. 292–4), the tenor d in bar 92, taken from the manuscript Pit (BNF ital. 568), creates the unsupported fourth d/g in the two-voice counterpoint, which is easily removed with the c offered in Sq (Florence, Biblioteca Medicea Laurenziana, Palatino 87). As for the other aim set in the first part of the title (Musica e poesia), the book leaves some room for further studies and for different approaches. The focus here is mostly on formal coordination of music and text, with the semantic potential of this interrelation receiving only a few brilliant insights in Calvia’s and Epifani’s articles – the insights that seem to prove that a further research in this direction may bear more fruit. This need to incorporate the semantic aspect is particularly noticeable in the contrapunctus studies that at times seem to adhere to the view that contrapuntal rules and exceptions are themselves inherently musical, rather than trying to explore them (particularly the exceptions) in relation to poetic content. This focus is entirely appropriate for a book that aims to signal future critical editions (in the second part of its title), but one thirsts for more comprehensive covering of the conjunction of ‘musica e poesia’ offered in the main title.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137117000110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/S0961137116000139
H. Hope
{"title":"Jennifer Bain, Hildegard of Bingen and Musical Reception: The Modern Revival of a Medieval Composer. Cambridge: Cambridge University Press, 2015. xiii + 235pp. £64.99. ISBN 978 1 107 07666 2.","authors":"H. Hope","doi":"10.1017/S0961137116000139","DOIUrl":"https://doi.org/10.1017/S0961137116000139","url":null,"abstract":"","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000139","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42878110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/S0961137116000097
Adam Whittaker
ABSTRACT The foundation of the solmisation system, attributed to Guido d'Arezzo, is based upon the application of the syllables ut, re, mi, fa, sol, la, to the musical notes C D E F G A. Later, this system was expanded to incorporate a series of overlapping hexachords made up of these six syllables. These overlapping hexachords could allow a singer to move seamlessly across the regular musical space (the gamut) using only the six syllables (voces) via ‘mutations’. Even though the extent to which this system underpinned diatonic conceptions of musical space is being reconsidered, it seems clear that, at least for some musicians, it played an integral part in music education. Although many theorists discussed the process of hexachordal mutation in their treatises, the approaches towards its exemplification and demonstration were far from uniform, given its conceptual rather than notated function. Johannes Tinctoris's Expositio manus (c.1472) includes a number of musical examples showing hexachordal mutation. His examples, rather unusually, include syllabic annotations to label the points of mutation within the musical notation, a practice that is almost without precedent. This article takes Tinctoris's treatise as a point of departure and compares the approaches taken towards the exemplification of hexachordal mutation in some theoretical texts from the fourteenth and fifteenth centuries, tracking the influence of their approaches forward into the sixteenth century. It considers what some different approaches can tell us about the conceptual function of the hexachord in pedagogy, and what the motives might have been for adopting specific exemplification practices.
由Guido d'Arezzo提出的单音系统的基础是将ut, re, mi, fa, sol, la这些音节应用于C d E F G a音符中。后来，该系统被扩展为由这六个音节组成的一系列重叠的六和弦。这些重叠的六和弦可以让歌手通过“突变”只用六个音节(声音)就可以无缝地跨越常规的音乐空间(音域)。尽管这个系统在多大程度上支撑了音乐空间的全音阶概念正在被重新考虑，但似乎很明显，至少对一些音乐家来说，它在音乐教育中发挥了不可或缺的作用。尽管许多理论家在他们的论文中讨论了六趾突变的过程，但考虑到其概念性而非符号性功能，对其举例和演示的方法远非统一。Johannes Tinctoris的《手抄本》(Expositio manus，约1472年)包含了一些显示六音阶突变的音乐例子。他的例子，相当不同寻常，包括音节注释，以标记乐谱中的突变点，这种做法几乎没有先例。本文以廷托里斯的论文为出发点，比较了14世纪和15世纪的一些理论文本中对六趾突变的例证所采取的方法，追踪了他们的方法对16世纪的影响。它考虑了一些不同的方法可以告诉我们关于六和弦在教育学中的概念功能，以及采用具体例证实践的动机。
{"title":"Signposting mutation in some fourteenth- and fifteenth-century music theory treatises","authors":"Adam Whittaker","doi":"10.1017/S0961137116000097","DOIUrl":"https://doi.org/10.1017/S0961137116000097","url":null,"abstract":"ABSTRACT The foundation of the solmisation system, attributed to Guido d'Arezzo, is based upon the application of the syllables ut, re, mi, fa, sol, la, to the musical notes C D E F G A. Later, this system was expanded to incorporate a series of overlapping hexachords made up of these six syllables. These overlapping hexachords could allow a singer to move seamlessly across the regular musical space (the gamut) using only the six syllables (voces) via ‘mutations’. Even though the extent to which this system underpinned diatonic conceptions of musical space is being reconsidered, it seems clear that, at least for some musicians, it played an integral part in music education. Although many theorists discussed the process of hexachordal mutation in their treatises, the approaches towards its exemplification and demonstration were far from uniform, given its conceptual rather than notated function. Johannes Tinctoris's Expositio manus (c.1472) includes a number of musical examples showing hexachordal mutation. His examples, rather unusually, include syllabic annotations to label the points of mutation within the musical notation, a practice that is almost without precedent. This article takes Tinctoris's treatise as a point of departure and compares the approaches taken towards the exemplification of hexachordal mutation in some theoretical texts from the fourteenth and fifteenth centuries, tracking the influence of their approaches forward into the sixteenth century. It considers what some different approaches can tell us about the conceptual function of the hexachord in pedagogy, and what the motives might have been for adopting specific exemplification practices.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48323803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/S0961137116000085
E. V. Rijk
ABSTRACT The later Trecento repertoire contains many short, monostrophic ballatas with philosophical or moralising texts. Why should the poets and composers, mostly Florentine, have preferred the ballata over the madrigal when exploring serious subjects, and why did they employ the monostrophic form? It turns out that the text structure of the monostrophic ballata is, in its essentials, comparable to the pattern of the geometric demonstration from Euclid's Elements, comprising premise, argumentation and return to the enhanced, proved premise (quod erat demonstrandum). Considered in light of Florentine Humanism's engagement with philosophy, including Ockham methods of demonstration, this article examines the possibility that Francesco Landini and other composers were sufficiently influenced by philosophy to view the structure of the monostrophic ballata as a means of logical demonstrations of refined arguments.
摘要：后来的特雷森托曲目中包含了许多简短的、单营养的民谣，带有哲学或道德文本。为什么诗人和作曲家，主要是佛罗伦萨人，在探索严肃的主题时，更喜欢民谣而不是牧歌，为什么他们使用单营养形式？事实证明，单营养民谣的文本结构在本质上可以与欧几里得的《元素》中的几何论证模式相媲美，包括前提、论证和对增强的、证明的前提的回归（quod erat recommendandum）。考虑到佛罗伦萨人本主义与哲学的接触，包括奥卡姆的论证方法，本文考察了弗朗切斯科·兰迪尼和其他作曲家受到哲学的充分影响，将单营养民谣的结构视为精细论证的逻辑论证手段的可能性。
{"title":"The form of the monostrophic ballata as a frame for a logical demonstration","authors":"E. V. Rijk","doi":"10.1017/S0961137116000085","DOIUrl":"https://doi.org/10.1017/S0961137116000085","url":null,"abstract":"ABSTRACT The later Trecento repertoire contains many short, monostrophic ballatas with philosophical or moralising texts. Why should the poets and composers, mostly Florentine, have preferred the ballata over the madrigal when exploring serious subjects, and why did they employ the monostrophic form? It turns out that the text structure of the monostrophic ballata is, in its essentials, comparable to the pattern of the geometric demonstration from Euclid's Elements, comprising premise, argumentation and return to the enhanced, proved premise (quod erat demonstrandum). Considered in light of Florentine Humanism's engagement with philosophy, including Ockham methods of demonstration, this article examines the possibility that Francesco Landini and other composers were sufficiently influenced by philosophy to view the structure of the monostrophic ballata as a means of logical demonstrations of refined arguments.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000085","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44518882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/s0961137116000115
J. Weber
FOREWORD The Editorial Committee extends its heartfelt thanks and warmest wishes to Rev. Jerome F. Weber, who is retiring as PMM's Audio Review Editor effective this issue. For a quarter century, Father Weber has regularly contributed reviews of hundreds of plainchant recordings to this journal, casting his net widely to capture Gregorian and post-Gregorian repertoires, monastic and regional traditions including Byzantine Chant, and chants on recordings devoted mainly to polyphony. Having published A Gregorian Chant Discography in 1990, addenda et corrigenda in PMM 19/1 (2010), he launched the website chantdiscography.com in November 2010, a relational database of sound recordings in formats ranging from shellac 78s and vinyl LPs to cassette tapes and compact discs. An enormously useful resource for scholars and music lovers alike, the online discography analyses well over a thousand new and re-issued CD recordings produced since 1990 along with data from the 1990 discography. We wish our colleague the very best in his well-earned retirement!
{"title":"Recent recordings of plainchant","authors":"J. Weber","doi":"10.1017/s0961137116000115","DOIUrl":"https://doi.org/10.1017/s0961137116000115","url":null,"abstract":"FOREWORD The Editorial Committee extends its heartfelt thanks and warmest wishes to Rev. Jerome F. Weber, who is retiring as PMM's Audio Review Editor effective this issue. For a quarter century, Father Weber has regularly contributed reviews of hundreds of plainchant recordings to this journal, casting his net widely to capture Gregorian and post-Gregorian repertoires, monastic and regional traditions including Byzantine Chant, and chants on recordings devoted mainly to polyphony. Having published A Gregorian Chant Discography in 1990, addenda et corrigenda in PMM 19/1 (2010), he launched the website chantdiscography.com in November 2010, a relational database of sound recordings in formats ranging from shellac 78s and vinyl LPs to cassette tapes and compact discs. An enormously useful resource for scholars and music lovers alike, the online discography analyses well over a thousand new and re-issued CD recordings produced since 1990 along with data from the 1990 discography. We wish our colleague the very best in his well-earned retirement!","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/s0961137116000115","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47831722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/S0961137116000103
M. Bent
ABSTRACT The Chantilly manuscript, probably compiled in the 1410s, is thought to have lost an original first sestern early in its history, as the folio numbers start at 13. Because the table of contents matches the order of pieces in the manuscript and starts with the present first item and at fol. 13, it has been assumed that it post-dates the sestern's loss. But the folio numbers were added to that table not by its original hand, but by a later (Italian) one, and that same hand wrote the foliation for the manuscript; table and foliation were therefore almost certainly provided in the same operation. If the table of contents was post factum, why is its foliation in a hand different from the incipits? This article argues that the table of contents was in fact prescriptive, drawn up by a different (French) person before the contents were copied, and that the foliation was added both to the index and the body of the manuscript after copying, allowing for a new planned gathering to be added at the beginning, perhaps including the two Cordier rondeaux. This was never completed; what we have is what there was, and nothing was lost. This hypothesis raises further questions about the codicological and chronological relation of the Cordier songs to the index, to that planned gathering, and to the early history of the manuscript, questions to which provisional answers are suggested.
{"title":"The absent first gathering of the Chantilly manuscript","authors":"M. Bent","doi":"10.1017/S0961137116000103","DOIUrl":"https://doi.org/10.1017/S0961137116000103","url":null,"abstract":"ABSTRACT The Chantilly manuscript, probably compiled in the 1410s, is thought to have lost an original first sestern early in its history, as the folio numbers start at 13. Because the table of contents matches the order of pieces in the manuscript and starts with the present first item and at fol. 13, it has been assumed that it post-dates the sestern's loss. But the folio numbers were added to that table not by its original hand, but by a later (Italian) one, and that same hand wrote the foliation for the manuscript; table and foliation were therefore almost certainly provided in the same operation. If the table of contents was post factum, why is its foliation in a hand different from the incipits? This article argues that the table of contents was in fact prescriptive, drawn up by a different (French) person before the contents were copied, and that the foliation was added both to the index and the body of the manuscript after copying, allowing for a new planned gathering to be added at the beginning, perhaps including the two Cordier rondeaux. This was never completed; what we have is what there was, and nothing was lost. This hypothesis raises further questions about the codicological and chronological relation of the Cordier songs to the index, to that planned gathering, and to the early history of the manuscript, questions to which provisional answers are suggested.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45422583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-20DOI: 10.1017/S0961137116000127
M. Salisbury
about Hildegard of Bingen. Arguably, this chapter encapsulates the volume’s most immediate implications for scholarship beyond the circumscribed study of Hildegard reception, since it crystallises succinctly the differences between the two revivals: while the French resurgence of interest in chant was instigated from a religious vantage point, German scholars were interested primarily in the musical aspects of chant. The monks at Solesmes took as their yardstick the medieval sources of Gregorian chant while Germans such as Franz Xaver Haberl were guided by humanist reworkings, most prominently the Medicean Graduale of 1614. Readers with a general interest in the politics of nineteenth-century chant revivals may be tempted to put down Bain’s book before they reach chapter 3; scholars with an interest in Hildegard, in turn, might be tempted to skip it. However, the chapter is worth close attention and is likely to encourage further, in-depth studies of the nineteenth-century reception of medieval music. Perhaps Bain would have been better served by placing this chapter earlier on in her study, for it undergirds much of her presentation of Hildegard-specific reception and it would be a pity for its insights to go unnoticed. This minor quibble aside, Bain’s study achieves its aim with admirable clarity: it demonstrates with flair that the revival of Hildegard and her music was not instigated in the twentieth century, but is rooted in the nineteenth century. Into the bargain, Bain offers readers rich insight into the cultural milieux in which such processes of reception and revival took place, encouraging further investigation.
{"title":"William Smith, The Use of Hereford: The Sources of a Medieval English Diocesan Rite. Farnham: Ashgate, 2015. xxxi + 830pp. £150. ISBN 978 1 4724 1277 5.","authors":"M. Salisbury","doi":"10.1017/S0961137116000127","DOIUrl":"https://doi.org/10.1017/S0961137116000127","url":null,"abstract":"about Hildegard of Bingen. Arguably, this chapter encapsulates the volume’s most immediate implications for scholarship beyond the circumscribed study of Hildegard reception, since it crystallises succinctly the differences between the two revivals: while the French resurgence of interest in chant was instigated from a religious vantage point, German scholars were interested primarily in the musical aspects of chant. The monks at Solesmes took as their yardstick the medieval sources of Gregorian chant while Germans such as Franz Xaver Haberl were guided by humanist reworkings, most prominently the Medicean Graduale of 1614. Readers with a general interest in the politics of nineteenth-century chant revivals may be tempted to put down Bain’s book before they reach chapter 3; scholars with an interest in Hildegard, in turn, might be tempted to skip it. However, the chapter is worth close attention and is likely to encourage further, in-depth studies of the nineteenth-century reception of medieval music. Perhaps Bain would have been better served by placing this chapter earlier on in her study, for it undergirds much of her presentation of Hildegard-specific reception and it would be a pity for its insights to go unnoticed. This minor quibble aside, Bain’s study achieves its aim with admirable clarity: it demonstrates with flair that the revival of Hildegard and her music was not instigated in the twentieth century, but is rooted in the nineteenth century. Into the bargain, Bain offers readers rich insight into the cultural milieux in which such processes of reception and revival took place, encouraging further investigation.","PeriodicalId":41539,"journal":{"name":"Plainsong & Medieval Music","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0961137116000127","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42731436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：