Reading Renaissance Music Theory

Informationen zum Autor Cristle Collins Judd is Assistant Professor of Music Theory at the University of Pennsylvania and editor of Tonal Structures in Early Music (1998). Klappentext This groundbreaking book offers a new perspective on a central group of music theory treatises that have long formed a background to the study of Renaissance music. Taking theorists' music examples as a point of departure! it explores fundamental questions about how music was read! and by whom! situating the reading in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis! and reflexively the ways in which modern theory has been mapped on to that practice. Zusammenfassung Taking Renaissance theorists' music examples as a point of departure! this study explores fundamental questions about how music was read! and by whom! in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis. Inhaltsverzeichnis List of illustrations; Foreward Ian Bent; Preface; Part I. Beginnings: 1. Prologue: Exempli gratia ...; 2. Music theory incunabula: printed books, printed music; Part II. 1520-1540: Pietro Aron and Seybald Heyden: 3. Pietro Aron and Petrucci's prints; 4. Music anthologies, theory treatises, and the Reformation: Nuremberg in the 1530s and 1540s; Part III. The Polyphony of Heinrich Glarean's Dodecachordon (1547): 5. Exempla, commonplace books, and writing theory; 6. The polyphony of the Dodecachordon; Part IV. Gioseffo Zarlino's Le Istitutioni Harmoniche (1558): 7. Composition and theory mediated by print culture; 8. 'On the modes': the citations of Le Istitutioni Harmoniche part IV; Part V. Readings Past and Present: 9. Exempli gratia: a reception history of Magnus es tu Domine/Tu pauperum refugium; 10. Epilogue: reading theorists reading (music); Bibliography; Index....

Klappentext
This groundbreaking book offers a new perspective on a central group of music theory treatises that have long formed a background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis, and reflexively the ways in which modern theory has been mapped on to that practice.

Zusammenfassung
Taking Renaissance theorists' music examples as a point of departure, this study explores fundamental questions about how music was read, and by whom, in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis.

Inhalt
List of illustrations; Foreward Ian Bent; Preface; Part I. Beginnings: 1. Prologue: Exempli gratia ...; 2. Music theory incunabula: printed books, printed music; Part II. 1520-1540: Pietro Aron and Seybald Heyden: 3. Pietro Aron and Petrucci's prints; 4. Music anthologies, theory treatises, and the Reformation: Nuremberg in the 1530s and 1540s; Part III. The Polyphony of Heinrich Glarean's Dodecachordon (1547): 5. Exempla, commonplace books, and writing theory; 6. The polyphony of the Dodecachordon; Part IV. Gioseffo Zarlino's Le Istitutioni Harmoniche (1558): 7. Composition and theory mediated by print culture; 8. 'On the modes': the citations of Le Istitutioni Harmoniche part IV; Part V. Readings Past and Present: 9. Exempli gratia: a reception history of Magnus es tu Domine/Tu pauperum refugium; 10. Epilogue: reading theorists reading (music); Bibliography; Index.

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