Richard Taruskin - The Oxford History Of Western Music

The Oxford History Of Western Music

Автор: Richard Taruskin
Жанр/Тематика/Направление: Монография
Год выпуска: 2010
Издательство: Oxford University Press
ISBN: 9780195384819
Язык: Английский
Формат: PDF
Качество: Изначально компьютерное (eBook)
Количество страниц: 1018+836+924+988+670 (4836)
Источник сканов: Найдено в Сети
Описание: История европейской музыки от григорианской псалмодии до джаза и рока.

Содержание

Vol.1 - From The Earliest Notations To The Sixtienth Century

Chapter 1 The Curtain Goes Up“Gregorian” Chant, the First Literate Repertory, and How It Got That Way
Literacy * The Romans and the Franks * The Carolingian Renaissance * The chant comes north * The legend of St.
Gregory * The origins of Gregorian chant * Monastic psalmody * The development of the liturgy * The Mass and its
music * Neumes * Persistence of oral tradition * Psalmody in practice: The Office * Psalmody in practice: The Mass *
Evidence of “oral composition” * Why we will never know how it all began * Beginnings, as far as we know them
Chapter 2 New Styles and FormsFrankish Additions to the Original Chant Repertory
Longissimae melodiae * Prosa * Sequences * How they were performed * Hymns * Tropes * The Mass Ordinary *
Kyries * The full Franko-Roman Mass * “Old Roman” and other chant dialects * What is art?
Chapter 3 Retheorizing MusicNew Frankish Concepts of Musical Organization and Their Effect on Composition
Musica * Tonaries * A new concept of mode * Mode classification in practice * Mode as a guide to composition *
Versus * Liturgical drama * Marian antiphons * Theory and the art of teaching
Chapter 4 Music of Feudalism and Fin’ AmorsThe Earliest Literate Secular Repertories: Aquitaine, France, Iberia, Italy, Germany
Binarisms
AQUITAINE
Troubadours * Minstrels * High (Latinate) and low (“popular”) style * Rhythm and Meter * Trobar clus
FRANCE
Trouveres * Social transformation * Adam de la Halle and the formes fixes * The first opera?
GEOGRAPHICAL DIFFUSION
Cantigas * A note on instruments * Laude and related genres * Minnesang * Popularization, then and since *
Meistersinger * Peoples and nations * What is an anachronism? * Philosophy of History
Chapter 5 Polyphony in Practice And TheoryEarly Polyphonic Performance Practices and the Twelfth-Century Blossoming of Polyphonic Composition
Another renaissance * “Symphonia” and its modifications * Guido, John, and discant * Polyphony in aquitanian
monastic centers * The Codex Calixtinus
Chapter 6 Notre Dame de ParisParisian Cathedral Music in the Twelfth and Thirteenth Centuries and Its Makers
The cathedral-university complex * Piecing the evidence together * Measured music * Whys and wherefores *
Organum cum alio * Theory or practice? * Conductus at Notre Dame
Chapter 7 Music for an Intellectual and Political EliteThe Thirteenth-Century Motet
A new class * The nascent motet * “Franconian” notation * Confluence of traditions * A new trobar clus? * Tenor
“families” * Color and talea * The art of mйlange * The “Petronian” motet
Chapter 8 Business Math, Politics, and Paradise: The Ars NovaNotational and Stylistic Change in Fourteenth-Century France: Isorhythmic Motets from Machaut to Du Fay
A “new art of music”? * Music from mathematics * Putting it into practice * Representing it * Backlash * Establishing
the prototype: The Roman de Fauvel * Taking a closer look * More elaborate patterning * Isorhythm * Music about
music * Machaut: The occult and the sensuous * Musica ficta * Cadences * Ciconia: The motet as political show * Du
Fay: The motet as mystical summa * A final word from Dante
Chapter 9 Machaut and His ProgenyMachaut’s Songs and Mass; Music at the Papal Court of Avignon; Ars Subtilior
Maintaining the art of courtly song * Redefining (and re-refining) a genre * The top-down style * Cantilena *
Functionally differentiated counterpoint * The luxuriant style * What instrumentalists Did * Machaut’s Mass and its
background * Avignon * Votive formularies * Ci commence la messe de nostre dame * Kyrie * Gloria * Dismissal *
Subtilitas * Canon * Ars Subtilior * Berry and Foix * Outposts * Faux-nanvete
Chapter 10 “A Pleasant Place”: Music of the TrecentoItalian Music of the Fourteenth Century
Vulgar eloquence * Madrigal culture * A new discant style * The “wild bird” songs * Ballata culture * Landini *
Late-century fusion * An important side issue: Periodization
Chapter 11 Island and MainlandMusic in the British Isles through the Early Fifteenth Century and Its Influence on the Continent
The first masterpiece? * Viking harmony * Insular fauna? * Pes motets and rondellus * The Worcester fragments *
Nationalism? * “English descant” * The beginnings of “functional” harmony? * Old Hall and Roy Henry * Fortunes of
war * Dunstable and the “contenance angloise” * Voluptuousness and how to acquire it * Fauxbourdon and faburden
* Du Fay and Binchois
Chapter 12 Emblems and DynastiesThe Cyclic Mass Ordinary Setting
The internationalism of the upper crust * The “Tinctoris generation” * The cyclic Mass * Cantus firmus as trope of
glory * “Caput” and the beginnings of four-part harmony * How controversies arise (and what they reveal) * Patterns
of emulation * The composer as virtuoso * Farther along the emulation chain * The Man at Arms * “Pervading
imitation” * An esthetic paradox (or, The paradox of “esthetics”) * Old and young alike pay tribute
Chapter 13 Middle and LowThe Fifteenth-Century Motet and Chanson; Early Instrumental Music; Music Printing
Hailing Mary * Personal prayer * The English keep things high * The Milanese go lower still * Fun in church? * Love
songs * Instrumental music becomes literate at last * Music becomes a business * “Songs” without words
Chapter 14 Josquin and the HumanistsJosquin des Prez in Fact and Legend; Parody Masses
What legends do * A poet born, not made * Josquin as the spirit of a (later) age * Recycling the legend back into
music * What Josquin was really like * A model masterpiece * Parodies * Facts and myths
Chapter 15 A Perfected ArtSixteenth-Century Church Music; New Instrumental Genres
All is known * The triad comes of age * “Il eccelentissimo Adriano” and his contemporaries * Gombert * Clemens *
Willaert and the art of transition * The progress of a method Academic art Spatialized form * Alternatives to
perfection * Peeking behind the curtain * Dances old and new
Chapter 16 The End of PerfectionPalestrina, Byrd, and the Final Flowering of Imitative Polyphony
Palestrina and the ecumenical tradition * Besting the Flemings; or, the last of the tenoristas * Parody pairs *
Palestrina and the bishops * Freedom and constraint * Cryogenics * Byrd * Church and state * The first English
cosmopolite * The music of defiance * Musical hermeneutics * The peak (and limit) of stylistic refinement
Chapter 17 Commercial and Literary MusicVernacular Song Genres in Italy, Germany, and France; Lasso’s Cosmopolitan Career
Music printers and their audience * Vernacular song genres: Italy * Germany: The Tenorlied * The “Parisian” chanson
* Music as description * Lasso: The cosmopolite supreme * The literary revolution and the return of the madrigal *
“Madrigalism” in practice * Paradox and contradiction * Exterior “nature” and interior “affect” * Postscript: The
English madrigal
Chapter 18 Reformations and Counter-ReformationsMusic of the Lutheran Church; Venetian Cathedral Music
The challenge * The Lutheran chorale * The response * Augenmusik * “Concerted” music * The art of orchestration is
born * “Songs” for instruments
Chapter 19 Pressure of Radical HumanismThe “Representational” Style and the Basso Continuo; Intermedii; Favole in Musica
The technical, the esthetic, and the ideological * Academies * The representational style * Intermedii * The “monodic
revolution” * Madrigals and arias redux * Favole in musica * Oratorio
Notes
Art Credits
Further Reading:A Checklist of Books in English
Index

Vol.2 - Music In The 17th And 18th Centuries

Introduction
Preface
Chapter 1 Opera from Monteverdi to MonteverdiPrincely and Public Theaters; Monteverdi’s Contributions to Both
Court and commerce * From Mantua to Venice * Poetics and esthesics * Opera and its politics * Sex objects, sexed and
unsexed * The quintessential princely s