Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church.
Through a detailed examination of the major musical treatises from the sixth through the twelfth centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church.
Active as both clarinetist and musicologist, Charles M. Atkinson is a scholar whose work is devoted primarily to music within the intellectual history of Antiquity and the Middle Ages. His areas of research and publication range from ancient Greek conceptions of tónos to medieval liturgy and music to the early history of American jazz. He is Professor of Musicology at The Ohio State University and President of the American Musicological Society.
Inhaltsangabe
Note on Abbreviations and Nomenclature for Ptich Prologue 1. The Heritage of Antiquity Part I. The Eighth and Ninth Centuries 2. The Reception of Ancient Texts in the Carolingian Era 3. The Heritage of the Church Part II. The Synthesis of Ancient Greek Theory and Medieval Practice 4. Hucbald of St. Amand and Regino of Prüm 5. Alia musica 6 Pseudo-Bernelinus, Bern of Reichnau, Pseudo-Odo, and Guido d'Arezzo Epilogue Bibliography Index of Chants and Manuscripts General Index
Note on Abbreviations and Nomenclature for Ptich Prologue 1. The Heritage of Antiquity Part I. The Eighth and Ninth Centuries 2. The Reception of Ancient Texts in the Carolingian Era 3. The Heritage of the Church Part II. The Synthesis of Ancient Greek Theory and Medieval Practice 4. Hucbald of St. Amand and Regino of Prüm 5. Alia musica 6 Pseudo-Bernelinus, Bern of Reichnau, Pseudo-Odo, and Guido d'Arezzo Epilogue Bibliography Index of Chants and Manuscripts General Index
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