By Anna Maria Busse Berger
This daring problem to standard notions approximately medieval song disputes the idea of natural literacy and replaces it with a extra complicated photo of a global during which literacy and orality interacted. Asking such primary questions as how singers controlled to memorize such an important volume of track and the way tune composed within the brain instead of in writing affected musical type, Anna Maria Busse Berger explores the impression of the artwork of reminiscence at the composition and transmission of medieval track. Her clean, cutting edge examine indicates that even if writing allowed composers to see items within the brain, it didn't make memorization redundant yet allowed for brand new how one can devote fabric to reminiscence. because the various polyphonic song from the 12th century and later used to be written down, students have lengthy assumed that it used to be all composed and transmitted in written shape. Our realizing of medieval tune has been profoundly formed through German philologists from the start of the final century who approached medieval song as though it have been no assorted from track of the 19th century. yet Medieval track and the artwork of reminiscence deftly demonstrates that the truth that a section used to be written down doesn't inevitably suggest that it was once conceived and transmitted in writing. Busse Berger's new version, person who emphasizes the interaction of literate and oral composition and transmission, deepens and enriches present understandings of medieval track and opens the sector for clean interpretations.
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Extra info for Medieval Music and the Art of Memory
Ludwig himself was fully aware that thirteenth-century authors often attributed compositions to somebody in order to enhance their value. In a paper of 1905 on the Codex Calixtinus, where pieces are attributed to popes and cardinals, he mentions that these attributions were only meant to im- say, a series of stages in which old and new existed side by side as integral parts of a liturgical corpus that represented a uniﬁed musical system” (p. 107). 72. See “Die mehrstimmige Musik,” 19–20. 73. “Die liturgischen Organa Leonins und Perotins,” 203.
D]ie Bearbeitung eines solchen Werkes weit ruhmvoller . . ” Thibaut, Über die Reinheit der Tonkunst, 15. 18 prologue perform old music. “Rein,” a term we will often encounter in Ludwig’s writings, refers to many different things. The editor of the third edition, Ministerialrat Dr. K. Bähr, describes what the term “rein” implies for Thibaut: With this “purity” [Reinheit ] he is, of course, referring not to the technical [purity], the purity of the setting or performance, but [the purity] of the art of music; for him it was a very different [purity], a higher, I would like to say moral, one, and one is fully justiﬁed in calling his book a moral act in the musical realm.
T. A. Hoffmann and Wilhelm Heinrich Wackenroder. ” For a new study of the topic see Garratt, Palestrina and the German Romantic Imagination, which appeared too late to be considered here. 49. Nowak, “Johannes Eccards Ernennung,” 297. 50. ” 51. ” 52. Dahlhaus, “Geschichte als Problem der Musiktheorie,” 412 f. 20 prologue music alone was considered artful music and was not yet spoiled through the damaging inﬂuence of instrumental music. To be sure, instrumental music too has its value and its justiﬁcation, so long as it keeps to the modest boundaries of an imitator of vocal music and derives its rules from vocal music.