- 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
Medieval Music and Language
Medieval Music and Language
- Chapter:
- (p.435) CHAPTER 16 Medieval Music and Language
- Source:
- With Voice and Pen
- Author(s):
Leo Treitler
- Publisher:
- Oxford University Press
This chapter examines the music-language relationship in early chant. However, the larger context of the study is the evolution of a musical tradition in the medieval West. The music-language relationship is a factor in many important aspects of a larger subject: the generation and circulation of music, the emergence of repertories out of performing traditions, the rise of music writing and reading (and their interaction with oral tradition), the spread of styles, and the sorts of changes undergone by musical artefacts themselves. Conversely, locating the music-language relationship in this broader context sets a standard for the kind of knowledge of the relationship that is needed to contribute appropriately to our understanding of the larger historical movement.
Keywords: music-language relationship, medieval West, performance, music writing, music reading
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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