- 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
Reading and Singing: On the Genesis of Occidental Music Writing
Reading and Singing: On the Genesis of Occidental Music Writing
- Chapter:
- (p.365) CHAPTER 14 Reading and Singing: On the Genesis of Occidental Music Writing
- Source:
- With Voice and Pen
- Author(s):
Leo Treitler
- Publisher:
- Oxford University Press
The previous chapter developed a classification theory for early neumatic writing systems according to the principles of their signifying functions. This chapter takes that theory as the basis for interpretations of their invention and early uses in the broadly historical context in which they came into existence and practice. The aspects of neumatic notation that are inseparably linked to language writing and performance — the liquescent neumes and the concept of accentus — are discussed.
Keywords: early neumatic writing, music writing, language, performance, liquescent neumes, accentus
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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