This is a complete revision of the second edition, designed as a guide and resource in the study of music from the earliest times through the Renaissance period. The authors have completely revised and updated the bibliographies; in general they are limited to English language sources. In order to facilitate study of this period and to use materials efficiently, references to facsimiles, monumental editions, complete composers' works and specialized anthologies are given. The authors present this systematic organization in this volume in the hope that students, teachers, and performers may find in it a ready tool for developing a comprehensive understanding of the music of this period.

What were the methods and educational philosophies of music teachers in the Middle Ages and the Renaissance? What did students study? What were the motivations of teacher and student? Contributors to this volume address these topics and other -- including gender, social status, and the role of the Church -- to better understand the identities of music teachers and students from 650 to 1650 in Western Europe. This volume provides an expansive view of the beginnings of music pedagogy, and shows how the act of learning was embedded in the broader context of the early Western art music tradition.

With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.

A detailed study of the sight-singing method introduced by the 11th-century monk Guido of Arezzo, in its intellectual context.

Examines musical culture in the towns and cities of Renaissance Europe and the New World.

Essays - collected in honour of Margaret Bent - examining how medieval and Renaissance composers responded to the tradition in which they worked through a process of citation of and commentary on earlier authors.

Based on extensive documentary and archival research, Music in Renaissance Ferrara is a documentary history of music for one of the most important city-states of the Italian Renaissance. Lockwood shows how patrons and musicians created a musical center over the course of the fifteenth-century, tracing the growth of music and musical life in rich detail. It also sheds new light on the careers of such important composers as Dufay, Martini, Obrecht, and Josquin Desprez. This paperback edition features a new preface that re-introduces the book and reflects on its contribution to our modern knowledge of music in the culture of the Italian Renaissance.

The Handbook of European History 1400-1600 brings together the best scholarship into an array of topical chapters that present current knowledge and thinking in ways useful to the specialist and accessible to students and to the educated non-specialist. Forty-one leading scholars in this field of history present the state of knowledge about the grand themes, main controversies and fruitful directions for research of European history in this era. Volume 1 (Structures and Assertions) described the people, lands, religions and political structures which define the setting for this historical period. Volume 2 (Visions, Programs, Outcomes) covers the early stages of the process by which newly established confessional structures began to work their way among the populace.

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers? approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.

This volume maps the phenomenon of medievalism in Aotearoa, initially as an import by the early white settler society, and as a form of nation building that would reinforce Britishness and ancestral belonging. This colonial narrative underpins the volume’s focus on the imperial relationship in chapters on the academic study of the Middle Ages, on medievalism in film and music, in manuscript and book collections, and colonial stained glass and architecture. Through the alternative 21st-century frameworks of a global Middle Ages and Aotearoa’s bicultural nationalism, the volume also introduces Maori understandings of the ancestral past that parallel the European epoch and, at the opposite end of the spectrum, the phenomenon of global right-wing medievalism, as evidenced in the Alt-right extremism underpinning the Christchurch mosque attack of 2019. The 11 chapters trace the transcultural moves and networks that comprise the shift from the 20th-century study of the Middle Ages as an historical period to manifestations of medievalism as the reception and interpretation of the medieval past in postmedieval times. Collectively these are viewed as indications of the changing public perception about the meaning and practice of the European heritage from the colonial to contemporary era. The volume will appeal to educationists, scholars, and students interested in the academic history of the Middle Ages in New Zealand; enthusiasts of film, music, and performance of the medieval; members of the public interested in Aotearoa’s history and popular culture; and all who enjoy the colourful reinventions of medievalism.