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Cambridge University Press по журналам "Plainsong and Medieval Music"

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  • Nelson Kathleen E. (Cambridge University Press. Cambridge, UK, 1993-10-01)
    The source to be discussed here is one of a collection of about 288 fragments of liturgical manuscripts. These form the section entitled Pergaminos musicales in the Archivo Histórico Provincial of Zamora in western Spain. ...
  • Dubowchik Rosemary Thoonen (Cambridge University Press. Cambridge, UK, 1996-10-01)
    In the year 552, a ceremony was held to commemorate the first anniversary of the death of Martha, mother of St Simeon Stylites the Younger. The Vita of St Martha, written by an anonymous monk during the first half of the ...
  • NARDINI LUISA (Cambridge University Press. Cambridge, UK, 2007-10-01)
    Comparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the ...
  • BAILEY TERENCE (Cambridge University Press. Cambridge, UK, 2008-04-01)
    The survival, as binding material, of a single folio written in Beneventan script and neumes provides evidence for the existence of the Ambrosian antiphoner prior to 1058 and the earliest diastematic source for several ...
  • Stevens John (Cambridge University Press. Cambridge, UK, 1994-04-01)
    It is a curiosity of British cultural history that the surviving Anglo-Norman (AN) songs of medieval England have attracted so little interest amongst musicologists English or French. Such knowledge as we have of them is ...
  • Wright Peter (Cambridge University Press. Cambridge, UK, 1994-04-01)
    A badly trimmed ascription can be more a matter for relish than regret: if enough of the composer's name survives to permit informed speculation, the musicologist's sense of pleasure is likely to outweigh his sense of loss. ...
  • Bent Margaret (Cambridge University Press. Cambridge, UK, 1996-04-01)
    John Dunstaple's reputation as the most famous English composer of the Middle Ages has stood almost unchallenged since his death. Two epitaphs attributed to one of his patrons, John Wheathamstead, Abbot of St Albans between ...
  • Knighton Tess (Cambridge University Press. Cambridge, UK, 1996-04-01)
    The discovery of a musical source is always something of an event. This volume of keyboard music dated 1540 and printed in Lisbon was discovered – appropriately for an Iberian source – in 1992 by Alejandro Iglesias who ...
  • Everist Mark (Cambridge University Press. Cambridge, UK, 1994-10-01)
    The extent to which the surviving sources can demonstrate the cultivation and consumption of the music of the twelfth and thirteenth centuries differs for each of the genres represented in them. Thus although the versions ...
  • Knighton Tess (Cambridge University Press. Cambridge, UK, 1994-04-01)
  • Lewis Ann (Cambridge University Press. Cambridge, UK, 1994-04-01)
    There is much interest at present in the way medieval motets generate meaning, both with their texts and their music. In two articles from a recent issue of Early Music History, for example, a remarkable density of meaning ...
  • McKinnon James W. (Cambridge University Press. Cambridge, UK, 1992-10-01)
    Chant scholars who attempt to deal with their subject in the pre-Carolingian period will sooner or later come up against the formidable oeuvre of Antoine Chavasse, the eminent Strasbourg scholar who dominates the field of ...
  • CHEUNG SALISBURY MATTHEW (Cambridge University Press. Cambridge, UK, 2007-04-01)
    The sources of medieval Offices contain a vast number of characteristics which demand comparative study; consequently, analyses of the repertory necessitate the use of a limited set of data upon which observations can be ...
  • McAlpine Fiona (Cambridge University Press. Cambridge, UK, 1995-04-01)
    The concept of individual authorship, let alone authorial style, is not one that medievalists are accustomed to dealing with, particularly in the realm of monophonic music. Within this field, however, troubadour and trouvère ...
  • Leech-Wilkinson Daniel (Cambridge University Press. Cambridge, UK, 1997-04-01)
    PMM 4/2 contained a review by Susan Fast of Matthew Balensuela's new edition of the anonymous fourteenth-century treatise Ars cantus mensurabilis mensurata per modos iuris. Both Balensuela and Fast were struck by the ...
  • Fast Susan (Cambridge University Press. Cambridge, UK, 1996-10-01)
    In his lucid discussion of genre in medieval treatises on music, Lawrence Gushee states that: The main part of Gushee's discussion is taken up with documents written up to the thirteenth century; for that reason he pays ...
  • Atchison Mary (Cambridge University Press. Cambridge, UK, 1995-04-01)
    Borrowing or quoting from the trouvère repertory has long been acknowledged as part of the craft of the composers of the thirteenth-century motet. Single strophes from a few trouvère chansons can be found as complete motet ...
  • Howlett David (Cambridge University Press. Cambridge, UK, 1995-10-01)
    Munich, Bayerische Staatsbibliothek, Mus. MS 3154 folios 47v–48r preserves the unique text of Busnois' motet In hydraulis, reproduced by D. Plamenac in Die Musik in Geschichte und Gegenwart IX Tafel 116.
  • Nowacki Edward (Cambridge University Press. Cambridge, UK, 1998-04-01)
    The end of a century, like the end of any era, is a time to take stock and lay plans. This is no less true of plainsong and medieval music than of any field of human endeavour. So it comes as no surprise to encounter in ...
  • Atkinson Charles M. (Cambridge University Press. Cambridge, UK, 2011-04-01)