Track Orders. Change Language. English Arabic.
Prions en Chantant
Important Links. Follow Us. App Download. US UK. Thank you for subscribing! Please check your email to confirm your subscription. Our Stores. Apply Filter Remove Filter Categories. All the latest offers delivered right to your inbox! We Accept.
The statement is surprising in view of the fact that boundaries between sacred and secular, especially in the vernacular song, are admittedly blurred, that the notion of the secular in the thirteenth century must at least be explained, as it differs so radically from an intuitively, uncritically-accepted concept of the secular at the end of the twentieth.
I am taking issue with an uncritical attitude toward issues and catgories that seem to me to pervade her interpretatory remarks, an indication, perhaps, of a lack of sophistication concerning the issues with which she is dealing. There are curious juxtapositions of her assumption that she is dealing with a knowledgeable, specialist readerhip, together with pedantic explanations of what, to that readership, would be obvious.
She gives a table of square notational forms in an appendix A which divides her interpretatory remarks from the edition thus making allowance for a reading audience that would have had no acquaintance whatsoever with the most easily- read notation -- the note-forms of which not only proliferated over the continent of Europe during and after the thirteenth century, but they were to be taken up, as well, into early published sources. These are also essentially the note-forms used in the missals and graduals as well as other books for the mass celebration published during the course of this century.
Her inclusion therefore indicates that she is appealing to a group of readers -- perhaps performers -- who have had absolutely no introduction to medieval notational systems of any kind. At the same time, she assumes that her readership will know about families of manuscripts, and what manuscripts N, O, and P should reveal, referring them to background reading from the nineteenth and early twentieth centuries in the German and French languages for example, Eduard Schwan, Die altfranzoesische Liederhandschriften , Berlin, , and Jean Beck, ed.
In other words, the writer appears to expect a specialist's knowledge of the sources from a reader who at the same time has not had any acquaintance whatsoever with the notation within these sources.
- Accurate Results in the Clinical Laboratory. A Guide to Error Detection and Correction.
- 98.06.03, Prions en Chantant: Devotional Songs of the Trouveres.
- Epstein | Troubadour Melodies Database.
The concept of families of manuscripts, at any rate, is a problematic concept, but also utterly incomprehensible for the uninitiated to manuscript lore. Square notation was also not, as she writes, standard in the mid-thirteenth century, rather, there is a good deal of evidemce that it originated in Paris, ca. But square notation would not appear nearly all over the continent of Europe, thus becoming truly standard, until considerably later, to be taken up, as I have mentioned, into early printed graduals, missals and other books used for the mass and office liturgies.
Marcia Epstein has studied the sources she has directly used for her own work, but, apparently, does not possess a knowledge, generally, of the notational forms used within these sources.
- ISBN 13: 9780802008404?
- See a Problem?.
- Acheter les livres de la Collection « Music » | AbeBooks: Marsha Berman Mus.
She also writes of correct mensural usage p. There are several examples of this, as well as a discussion of the range of problems associated with coincidental use of both types of notation in van Deusen, N. As one continues, one learns that the devotional songs were included in an essentially oral culture and one wonders, if this were so, why were the pieces notated at all.
What purpose was served by notation is not a question that is either cogently taken up or answered.
Entdecken Sie die Bücher der Sammlung Music | AbeBooks: The Book Junction
NOOK Book. The rich medieval French tradition of vernacular devotional songs has not received much scrutiny. The majority of the music is published here for the first time. Sixty-one songs are presented, with forty-nine songs exhibited in Old French with a facing-page modern English translation followed by old musical notation and facing-page with modern musical transcription. An additional twelve songs, which lack music in the original sources, are represented by the Old French text and the modern English translation only.
- In Praise of the Stepmother!
- Handbook of Psychodynamic Approaches to Psychopathology!
- Rhetoric of Machine Aesthetics;
- Stormy Vows/Tempest at Sea (Loveswept)!
- Article Sidebar?
- Boeing Stratocruiser.
This is a valuable and welcome addition to the study of medieval music. See All Customer Reviews. Shop Books. Read an excerpt of this book! Add to Wishlist. USD Sign in to Purchase Instantly.
Product Details About the Author. About the Author Marcia J. She also is a performer and composer of medieval music. Average Review. Write a Review. Related Searches.