- Title Pages
- Dedication
- Preface
- Acknowledgements
- List of Plates
- List of Figures
- List of Tables
- List of Musical Examples
- Notes on the Compact Disc
- Abbreviations
- CHAPTER I Medieval Improvisation
- CHAPTER 2 Written Music and Oral Music: Improvisation in Medieval Performance
- CHAPTER 3 The Vatican Organum Treatise and the Organum of Notre Dame of Paris: Perspectives on the Development of a Literate Music Culture in Europe
- CHAPTER 4 ‘Peripheral’ and ‘Central’
- CHAPTER 5 On the Structure of Alleluia Melisma: A Western Tendency in Western Chant(?)
- CHAPTER 6 Homer and Gregory: The Transmission of Epic Poetry and Plainchant
- CHAPTER 7 ‘Centonate’ Chant: <i>übles Flickwerk or e pluribus unus</i>?
- CHAPTER 8 Lingering Questions about ‘Oral Literature’
- CHAPTER 9 The Politics of Reception: Tailoring the Present as Fulfilment of a Desired Past
- CHAPTER 10 Oral, Written, and Literate Process in the Music of the Middle Ages
- CHAPTER 11 Observations on the Transmission of Some Aquitanian Tropes
- CHAPTER 12 History and the Ontology of the Musical Work
- CHAPTER 13 The Early History of Music Writing in the West
- CHAPTER 14 Reading and Singing: On the Genesis of Occidental Music Writing
- CHAPTER 15 Speaking of Jesus
- CHAPTER 16 Medieval Music and Language
- CHAPTER 17 The Marriage of Poetry and Music in Medieval Song
- Bibliography
- Index
History and the Ontology of the Musical Work
History and the Ontology of the Musical Work
- Chapter:
- (p.298) CHAPTER 12 History and the Ontology of the Musical Work
- Source:
- With Voice and Pen
- Author(s):
Leo Treitler
- Publisher:
- Oxford University Press
This chapter argues that the question about the ontological state of music must be addressed by taking into account the particular historical situation of the music in question, in its particular culture. It is both a historical and a philosophical question. It is important to project what we regard as self-evident answers onto medieval music from our experience with modern music, but also to show that those answers are in fact not always so self-evident even with respect to modern music.
Keywords: ontological state, medieval music, modern music, musical works, philosopy
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- Title Pages
- Dedication
- Preface
- Acknowledgements
- List of Plates
- List of Figures
- List of Tables
- List of Musical Examples
- Notes on the Compact Disc
- Abbreviations
- CHAPTER I Medieval Improvisation
- CHAPTER 2 Written Music and Oral Music: Improvisation in Medieval Performance
- CHAPTER 3 The Vatican Organum Treatise and the Organum of Notre Dame of Paris: Perspectives on the Development of a Literate Music Culture in Europe
- CHAPTER 4 ‘Peripheral’ and ‘Central’
- CHAPTER 5 On the Structure of Alleluia Melisma: A Western Tendency in Western Chant(?)
- CHAPTER 6 Homer and Gregory: The Transmission of Epic Poetry and Plainchant
- CHAPTER 7 ‘Centonate’ Chant: <i>übles Flickwerk or e pluribus unus</i>?
- CHAPTER 8 Lingering Questions about ‘Oral Literature’
- CHAPTER 9 The Politics of Reception: Tailoring the Present as Fulfilment of a Desired Past
- CHAPTER 10 Oral, Written, and Literate Process in the Music of the Middle Ages
- CHAPTER 11 Observations on the Transmission of Some Aquitanian Tropes
- CHAPTER 12 History and the Ontology of the Musical Work
- CHAPTER 13 The Early History of Music Writing in the West
- CHAPTER 14 Reading and Singing: On the Genesis of Occidental Music Writing
- CHAPTER 15 Speaking of Jesus
- CHAPTER 16 Medieval Music and Language
- CHAPTER 17 The Marriage of Poetry and Music in Medieval Song
- Bibliography
- Index
