Music in Medieval Europe Studies in Honour of Bryan Gillingham

This book presents the most recent findings of twenty of the foremost European and North American researchers into the music of the Middle Ages. The chronological scope of their topics is wide, from the ninth to the fifteenth century. Wide too is the range of the subject matter: included are essays on ecclesiastical chant, early and late (and on the earliest and latest of its supernumerary tropes, monophonic and polyphonic); on the innovative and seminal polyphony of Notre-Dame de Paris, and the Latin poetry associated with the great cathedral; on the liturgy of Paris, Rome and Milan; on musical theory; on the emotional reception of music near the end of the medieval period and the emergence of modern sensibilities; even on methods of encoding the melodies that survive from the Middle Ages, encoding that makes it practical to apply computer-assisted analysis to their vast number. The findings presented in this book will be of interest to those engaged by music and the liturgy, active researchers and students. All the papers are carefully and extensively documented by references to medieval sources.

Contents: Two paradigms of orality: the office and the mass, László Dobszay; Salamanca to Sydney: a newly-discovered manuscript of the Lamentations of Jeremiah, Jane Morlet Hardie; Gregorian responsories based on texts from the Book of Judith, Ruth Steiner; Modes and modality: a unifying concept for Western chant?, John Caldwell; Réôme, Cluny, Dijon, Barbara Haggh and Michel Huglo; The first dictionary of music: the Vocabularium musicum of ms Monte Cassino 318, Alma Santosuosso; The twilight of troping, Theodore Karp; To trope or not to trope? Or, how was that English Gloria performed?, William John Summers; Why Marian motets on non-Marian tenors? An answer, Rebecca A. Baltzer; Consecrating the house: the Carmelites and the office of the dedication of a church, James John Boyce, O. Carm.; A historical context for Guido d'Arezzo's use of distinctio, Dolores Pesce; The musical text of the introit Resurrexi, David Hughes; Chants for four masses in the Editio princeps of the Pontificale romanum (1485), James Borders; The double office at St Peter's Basilica on Dominica de Gaudete, Joseph Dyer; Philip the Chancellor and the conductus prosula: 'motetish' works from the School of Notre-Dame, Thomas B. Payne; Vox - littera - cantus: aspects of voice and vocality in medieval song, Philip Weller; Ambrosian processions of the saints, Terence Bailey; Patterns and paleography: revisions, variants, errors, and methods, Andrew Hughes; Notker in Aquitaine, Alejandro Enrique Planchart; The Historia Sancti Magni by Hermannus Contractus (1013-1054), David Hiley; Publications of Bryan Gillingham; Bibliography; Indexes.

Terence Bailey is Professor Emeritus at the University of Western Ontario, Canada. Alma Santosuosso is Professor at Wilfrid Laurier University, Canada.