Musicologie Médiévale

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Musicalia Medii Aevi (MUMA 1)

The Calligraphy of Medieval Music 

J. HAINES (ed.)
276 p., 116 b/w ill. + 21 colour ill., 178 x 254 mm, 2011
ISBN: 978-2-503-54005-4
Languages: English, French
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Retail price: EUR 75,00
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The Calligraphy of Medieval Music treats the practical aspects of the book making and music writing trades in the Middle Ages. It covers most major regions of music writing in medieval Europe, from Sicily to England and from Spain to the eastern Germanic regions. Specific issues raised by the contributors include the pricking and ruling of books; the writing habits of scribes and their reliance on memory; the cultural influence of monastic orders such as the Carthusians; graphic variants between regional styles of music notation ranging from tenth-century Saint-Gall to sixteenth-century Cambrai; and the impact of print on late medieval notation. The volume opens with a few essays dealing with general issues such as page layout and manuscript production both in and out of medieval Europe. The second part of the book covers early music notations from the tenth and eleventh centuries, and the third part, the twelfth to the sixteenth centuries.

John Haines is Associate Professor of Music and Medieval Studies at the University of Toronto where he holds a Canada Research Chair. He is the author of Eight Centuries of Troubadours and Trouveres (2004), Satire in the Songs of Renart le nouvel (2009) and Medieval Song in Romance Languages (2010), as well as the co-editor with Randall Rosenfeld of Music and Medieval Manuscripts: Paleography and Performance (2004). He has also published numerous articles in such periodicals asScriptorium and Early Music History. In Toronto, he directs the research project Nota Quadrata.

With Contributions written by: Giacomo Baroffio, Anna Maria Busse Berger, Olivier Cullin, Albert Derolez, Jean-Luc Deuffic, Lawrence Earp, Margot Fassler, Barbara Haggh-Huglo, Getatchew Haile, John Haines, David Hiley, Michel Huglo, Rankin, Susana Zapke.

Table of Contents

Table of contents

John Haines, Introduction

Part I : Writing medieval music

1. Michel Huglo, Toward a scientific palaeography of music

2. Albert Derolez, The codicology of late medieval music manuscripts: some preliminary observations 

3. Getatchew Haile, Manuscript production in Ethiopia: an ongoing practice

Part II : Early medieval notations

4. Susan Rankin, Calligraphy and the study of neumatic notations

5. Jean-Luc DeufficLa notation neumatique bretonne : manuscrits et centres de diffusion (Xe-XIIe siècle)

6. Susana ZapkeDating neumes according to their morphology: the corpus of Toledo

7. Giacomo BaroffioMusic writing styles in medieval Italy

8. Margot FasslerLiturgical books and book production in the thirteenth-century diocese of Chartres: the case of Biblioteca Apostolica Vaticana, Vat. Lat. 4756

9. David Hiley, Some characteristic neumes in North French, Sicilian and Italian chant

10. Michel Huglo, The earliest developments in square notation: twelfth-century Aquitaine

Part III : Later medieval notations

11. Olivier Cullin, Notation in Carthusian liturgical books: preliminary remarks

12. Michel Huglo, Dominican and Franciscan books: similarities and differences between their notations

13. John Haines, On ligaturae and their properties: medieval music notation as esoteric writing

14. Lawrence Earp, Interpreting the deluxe manuscript: exigencies of scribal practice and manuscript production in Machaut

15. Anna Maria Busse Berger, The consequences of Ars Nova notation

16. Barbara HagghThe meeting of chant and polyphony in monophonic square notation from Cambrai Cathedral 1250-1550

Table of illustrations

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Tags: Nouveautés livres, Paléographie

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