El Argonauta. La librería de la música.

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The Musical World of a Medieval Monk. Adémar de Chabannes in Eleventh-century Aquitaine
The Musical World of a Medieval Monk. Adémar de Chabannes in Eleventh-century Aquitaine.
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The Musical World of a Medieval Monk. Adémar de Chabannes in Eleventh-century Aquitaine

  • ISBN: 978-0-521-85628-7
  • Editorial: Cambridge University Press
  • Encuadernación: Cartoné
  • Formato: 23x15
  • Páginas: 384
  • Idiomas: Inglés
  • Tipo: LIBRO

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James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyses his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and, finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.

CONTENIDO:

Preface
A note on the musical examples and the edition

- Introduction: Adémar de Chabannes and Saint Martial de Limoges
Saint Martial de Limoges
The musical community at Saint Martial
The musical community in the eleventh century
Adémar de Chabannes (989-1034)
Adémar and Pa 1121
Adémar, Pa 909 and the apostolicity of Saint Martial

- Music scribe
The early history of notation in Aquitaine
The nature and function of music books produced at Saint Martial
A comparison with the use of musical notation at Saint Gall
The identification of Adémar's music hand
The purpose of musical notation in Adémar's music manuscripts
Adémar's musical notation
Grouping and ligation
Special neumes: Quilisma, Inverted Virga, Oriscus, Pes Stratus, Tristropha
Liquescence
The notation of sequentiae
Adémar's copying techniques

- Compiler
Borrowing and adapting at Saint Martial
The apostolic Mass for Martial
The troped Masses for Austriclinian and Justinian
The apostolic Office for Martial
The apostolic Office for Martial: responsories and verses
The apostolic Office for Martial: textual revisions
Minor chants of the Office: versicles, short responsories and the Benedicamus domino
Responsorial tones
Responsory melismata

- Editor
Texted pieces: liquescence
Texted pieces: repeated notes and differences in pitch
Untexted pieces: the commission and correction of error
Untexted pieces: editorial correction
Untexted pieces: editorial revision
Editing the Divine Office: Pa 909
Editing the Divine Office: Pa 1978

- Composer
Identifying Adémar's original compositions
The scope of Adémar's original compositions
Offices for Saints Valérie, Austriclinian and Cybard
The texts
Musical images in the texts
Adémar's compositional style: adaptations
Formulaic composition
Free compositions: Office chants
Sequence: Arce polorum
Procession on Montjovis: Ave pastor optime
Melodic revision: Principes populorum and Allelvia ? Beati oculi

- Singer
Benedictine monasticism and singing
Music in Adémar's literary works
Adémar as music scribe and editor
Adémar and melismatic chant

- Conclusion: The success of the apostolic campaign
Pa 1138/1338 and the prosae for Saint Martial
Pa 5240 and the hymns for Martial
Pa 1119: Adémar's troped apostolic mass and prosae for Martial
Pa 1137 and 1132: The Cluniac adoption of the apostolicity

Appendix A Manuscripts with Adémar's music hand
Appendix B Adémar's original compositions
Bibliography
Index of chants
Index of manuscripts
General index

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