Untitled

More documents

Recommendations

Info

434 Webb, C. C. J., 339 n 2 . Wehofer, T., 21 n 5 . Weiss, T., 10 n 5 . Wellesz, Egon, 54 n 1 , 60, 61, 76 n 1 , 98, 111, 149 n 2 , 280 n 2 , 312. Werner, E., 1 n 1 , 2 n 4 , 27 n 2 , 160 n 4 . Wessex, 100. Whitehill, Walter Muir, 288. Widsith, 151. William of Malmesbury, 152. William of Wycombe, 313, 356. Winchester, 180, 181, 280-2, 285, 314, 347. Winder wie ist nu dein kraft, 256. Windisch, E., 151 n 3 . Wizlav von Riigen, 253, 255 n 1 . Wolf, Johannes, 36, 221 n3 , 223 mi2-5 , 227 n1 228 nn , 2"6 3 -5 229 nn , , 231 n2 , 232 n2 , 240 n1 , 244 n1 , 245 n1 , 249 n2 , 337 n1 , 338. Woodward, George Ratcliffe, 248 n2 , 335 n1 . INDEX Wooldridge, Harry Ellis, 248 n1 , 251 n2 , 277 n2 , 280 n2 , 303, 304 n1 307 n , 2 , 318, 337 n1 , 338 n3 343 nn , 1 ' 2 , 345, 351, 400-2. Worcester, 99, 314, 315, 349, 351, 354, 356-8, 369, 374, 375, 384 n 2 , 385, 386, 403. Worldes bits ne last, 251. Worldes blisce / Domino, 374. Wright, W., 10 n 4 . Yasser, Joseph, 276, 329. Ymera agiasmene, 280. York, 315, 316. Young, Karl, 175, 202 n 8 , 219 n 1 . Zeydel, E. H., 219 n 1 . Znamenny chant, 52-57. Zotenberg, H., 48. Zuntz, G., 3 n 1 .
PRINTED IN GREAT BRITAIN AT THE UNIVERSITY PRESS OXFORD BY CHARLES BATEY PRINTER TO THE UNIVERSITY
Page 2 and 3:
780.9 N532 v.2 5^5385 780.9 1532 T2
Page 7 and 8:
NEW OXFORD HISTORY OF MUSIC VOLUME
Page 10 and 11:
SACRED AND PROFANE MUSIC (St. John'
Page 12 and 13:
Oxford University Press, Amen House
Page 14 and 15:
vi GENERAL INTRODUCTION music is no
Page 17 and 18:
CONTENTS GENERAL INTRODUCTION V INT
Page 19 and 20:
CONTENTS xi The Easter Sepulchre Dr
Page 21:
ILLUSTRATIONS SACRED AND PROFANE MU
Page 24 and 25:
xvi INTRODUCTION TO VOLUME II indee
Page 26 and 27:
xviii INTRODUCTION TO VOLUME II Cor
Page 28 and 29:
2 EARLY CHRISTIAN MUSIC so that the
Page 30 and 31:
4 EARLY CHRISTIAN MUSIC c. 430); bu
Page 32 and 33:
6 EARLY CHRISTIAN MUSIC liturgical
Page 34 and 35:
8 EARLY CHRISTIAN MUSIC (Assyrians)
Page 36 and 37:
10 EARLY CHRISTIAN MUSIC The Syriac
Page 38 and 39:
12 EARLY CHRISTIAN MUSIC hymns were
Page 40 and 41:
II (a) MUSIC OF THE EASTERN CHURCHE
Page 42 and 43:
16 MUSIC OF THE EASTERN CHURCHES th
Page 44 and 45:
18 MUSIC OF THE EASTERN CHURCHES st
Page 46 and 47:
20 MUSIC OF THE EASTERN CHURCHES Ch
Page 48 and 49:
22 MUSIC OF THE EASTERN CHURCHES ro
Page 50 and 51:
24 MUSIC OF THE EASTERN CHURCHES mo
Page 52 and 53:
26 MUSIC OF THE EASTERN CHURCHES (M
Page 54 and 55:
28 MUSIC OF THE EASTERN CHURCHES Th
Page 56 and 57:
30 MUSIC OF THE EASTERN CHURCHES tw
Page 58 and 59:
32 MUSIC OF THE EASTERN CHURCHES O)
Page 60 and 61:
34 MUSIC OF THE EASTERN CHURCHES We
Page 62 and 63:
36 MUSIC OF THE EASTERN CHURCHES Ow
Page 64 and 65:
Page 66 and 67:
Page 68 and 69:
42 MUSIC OF THE EASTERN CHURCHES Mo
Page 70 and 71:
44 MUSIC OF THE EASTERN CHURCHES of
Page 72 and 73:
46 MUSIC OF THE EASTERN CHURCHES Mo
Page 74 and 75:
48 MUSIC OF THE EASTERN CHURCHES we
Page 77 and 78:
ETHIOPIAN MUSIC 49 tion where they
Page 79 and 80:
ARMENIAN MUSIC 51 Armenian liturgy
Page 81:
AN ARMENIAN HYMN BOOK WITH NEUMS Wr
Page 84 and 85:
54 RUSSIAN CHANT it is therefore im
Page 87 and 88:
DEVELOPMENT AND DECLINE 55 them the
Page 89 and 90:
MANNER OF PERFORMANCE MANNER OF PER
Page 91 and 92:
EARLIEST TRACES 59 used to pray and
Page 93 and 94:
AMBROSIAN CHANT 61 other hand, Pete
Page 95 and 96:
AMBROSIAN CHANT 63 contains the par
Page 97 and 98:
; AMBROSIAN CHANT /Con-fi-te mUni D
Page 99 and 100:
Ex. 17 (b) Antiphon AMBROSIAN CHANT
Page 101 and 102:
AMBROSIAN CHANT 69 Lae- tis ca-na-m
Page 103 and 104:
AMBROSIAN CHANT 71 antiphon, Sunol
Page 105 and 106:
GALLICAN CHANT 73 was divided, litu
Page 107 and 108:
GALLICAN CHANT 75 serving as a star
Page 109 and 110:
GALLICAN CHANT 77 phons, which were
Page 111 and 112:
GALLICAN CHANT 79 10. Antiphon of t
Page 113 and 114:
GALLICAN CHANT 81 with the oriental
Page 115 and 116:
MOZARABIC CHANT 83 (Our Father, who
Page 117 and 118:
E Ex. 31 (b) MOZARABIC CHANT 85 te
Page 119 and 120:
MOZARABIC CHANT 87 parce', &c.). Th
Page 121 and 122:
Dei unigenitum, et ex Patre natum E
Page 123 and 124:
MOZARABIC CHANT 91 to its close rel
Page 125 and 126:
MUSICAL VALUE AND PRINCIPAL FEATURE
Page 127 and 128:
FORMATION OF ROMAN LITURGICAL CHANT
Page 129 and 130:
PERFECTION OF GREGORIAN CHANT 97 ve
Page 131 and 132:
PERFECTION OF GREGORIAN CHANT 99 to
Page 133 and 134:
DIFFUSION AND DECAY 101 its metrica
Page 135 and 136:
MODERN RESTORATION 103 chief work o
Page 137 and 138:
MODERN RESTORATION 105 of the Gradu
Page 139 and 140:
SOURCES AND NOTATION 107 read, a si
Page 142 and 143:
FAMILIES OF NEUMATIC NOTATIONS 1. N
Page 144 and 145:
110 GREGORIAN CHANT as the forerunn
Page 146 and 147:
112 GREGORIAN CHANT Final Range Dom
Page 148 and 149:
114 GREGORIAN CHANT artistic resour
Page 150 and 151:
116 GREGORIAN CHANT occurs it is de
Page 152 and 153:
118 GREGORIAN CHANT o su - os, no l
Page 154 and 155:
120 GREGORIAN CHANT florid, retains
Page 156 and 157:
122 GREGORIAN CHANT r, %. a , me -
Page 158 and 159:
124 GREGORIAN CHANT jubilus, or flo
Page 160 and 161:
126 GREGORIAN CHANT etbe-ne-di- ctu
Page 162 and 163:
V TROPE, SEQUENCE, AND CONDUCTUS TE
Page 164 and 165:
130 TROPE, SEQUENCE, AND CONDUCTUS
Page 166 and 167:
Page 168 and 169:
Page 170 and 171:
Page 172 and 173:
Page 174 and 175:
Page 176 and 177:
Page 178 and 179:
Ex. 47 contd. (Repetendd? et im - p
Page 180 and 181:
Page 182 and 183:
Page 184 and 185:
Page 186 and 187:
Page 188 and 189:
Page 190 and 191:
Page 192 and 193:
Page 194 and 195:
Page 196 and 197:
Page 198 and 199:
or nos di - nes sup-plan te tuser-
Page 200 and 201:
Page 202 and 203:
Page 204 and 205:
Page 206 and 207:
Page 208 and 209:
Page 210 and 211:
176 LITURGICAL DRAMA twenty-two exa
Page 212 and 213:
178 LITURGICAL DRAMA From the two o
Page 215 and 216:
vr**- THE EASTER SEPULCHRE DRAMA 17
Page 217 and 218:
Ci- to e - un - -re-xit Do -mi - nu
Page 219 and 220:
a note. The first part is lyrical T
Page 221 and 222:
THE EASTER SEPULCHRE DRAMA 185 and
Page 223 and 224:
Ex. 64 CO) UuT THE EASTER SEPULCHRE
Page 225 and 226:
THE EASTER SEPULCHRE DRAMA 189 the
Page 227 and 228:
Ex. 65 a) 6- e a V. PEREGRINUS PLAY
Page 229 and 230:
PEREGR1NUS PLAYS 193 incredulity an
Page 231 and 232:
PASSION PLAYS 195 in metrical form,
Page 233 and 234:
CHRISTMAS PLAYS 197 manger, a tradi
Page 235 and 236:
CHRISTMAS PLAYS 199 other extant Of
Page 237 and 238:
CHRISTMAS PLAYS 201 Finally the Off
Page 239 and 240:
CHRISTMAS PLAYS 203 main altar to t
Page 241 and 242:
CHRISTMAS PLAYS 205 so long and unw
Page 243 and 244:
SUNDRY RELIGIOUS PLAYS 207 Abelard,
Page 245 and 246:
SUNDRY RELIGIOUS PLAYS 209 (Let us,
Page 247 and 248:
SUNDRY RELIGIOUS PLAYS 211 these st
Page 249 and 250:
Ex. 77 &0 ^ ^3F SUNDRY RELIGIOUS PL
Page 251 and 252:
THE DANIEL PLAYS 215 or Darius, is
Page 253 and 254:
THE DANIEL PLAYS 217 returns wholly
Page 255 and 256:
Ex. 85 CO &- Et.8 5 (ii) THE DANIEL
Page 258 and 259:
4|4rri "'" ift.'i. 1 Lfe'' ,'^iiiC,
Page 260 and 261:
222 MEDIEVAL SONG express moral sen
Page 262 and 263:
224 MEDIEVAL SONG narrative alterna
Page 264 and 265:
226 MEDIEVAL SONG that the music is
Page 266 and 267:
228 MEDIEVAL SONG and perfect notes
Page 268 and 269:
230 MEDIEVAL SONG *J fliJ ^ son. Oi
Page 270 and 271:
232 MEDIEVAL SONG (All my desire an
Page 272 and 273:
234 MEDIEVAL SONG (la the year when
Page 274 and 275:
236 MEDIEVAL SONG m i ^ Et la gen -
Page 276 and 277:
238 Ex. roc 1 (PEDES) MEDIEVAL SONG
Page 278 and 279:
(If by the power of mercy true love
Page 280 and 281:
242 MEDIEVAL SONG E - y - a, 'E pir
Page 282 and 283:
244 MEDIEVAL SONG (Clap your hands,
Page 284 and 285:
246 MEDIEVAL SONG -a - mou-rat. Que
Page 286 and 287:
248 MEDIEVAL SONG so good to hear a
Page 288 and 289:
250 MEDIEVAL SONG that the Middle A
Page 290 and 291:
252 MEDIEVAL SONG (The world's joy
Page 292 and 293:
254 MEDIEVAL SONG dich be - hu - te
Page 294 and 295:
256 MEDIEVAL SONG was ghe - stalt.
Page 296 and 297:
258 MEDIEVAL SONG Ex. uo l Ey ichsa
Page 298 and 299:
260 MEDIEVAL SONG structure by the
Page 300 and 301:
262 EX. I2Q 1 J-. Ji J' J MEDIEVAL
Page 302 and 303:
MEDIEVAL SONG Et du - rou as - si c
Page 304 and 305:
266 MEDIEVAL SONG The tritone (F to
Page 306 and 307:
268 MEDIEVAL SONG Ex.135 1 di - m -
Page 308 and 309:
VIII THE BIRTH OF POLYPHONY By DOM
Page 310 and 311:
272 THE BIRTH OF POLYPHONY prosody
Page 312 and 313:
274 THE BIRTH OF POLYPHONY some of
Page 314 and 315:
276 THE BIRTH OF POLYPHONY cymbals
Page 316 and 317:
278 THE BIRTH OF POLYPHONY works ma
Page 318 and 319:
280 THE BIRTH OF POLYPHONY occurred
Page 320 and 321:
282 THE BIRTH OF POLYPHONY entire c
Page 322 and 323:
284 THE BIRTH OF POLYPHONY 'i n i i
Page 324 and 325:
286 THE BIRTH OF POLYPHONY instruct
Page 326 and 327:
288 MUSIC IN THE TWELFTH CENTURY of
Page 328 and 329:
290 MUSIC IN THE TWELFTH CENTURY gi
Page 330 and 331:
292 MUSIC IN THE TWELFTH CENTURY Ne
Page 332 and 333:
294 MUSIC IN THE TWELFTH CENTURY It
Page 334 and 335:
296 MUSIC IN THE TWELFTH CENTURY TH
Page 336 and 337:
298 MUSIC IN THE TWELFTH CENTURY th
Page 338 and 339:
MUSIC IN THE TWELFTH CENTURY Rex im
Page 340:
302 MUSIC IN THE TWELFTH CENTURY pa
Page 343 and 344:
THREE-PART WRITING 303 Patrishumana
Page 345 and 346:
THREE-PART WRITING 305 with six thi
Page 347 and 348:
THREE-PART WRITING 307 One short ex
Page 349 and 350:
*UT TUO PROPITIATUS pec - ca - tis
Page 351 and 352:
X MUSIC IN FIXED RHYTHM By DOM ANSE
Page 353 and 354:
PRELIMINARY REMARKS ON DATES AND DA
Page 355 and 356:
THE GENERAL PICTURE 315 from which
Page 357 and 358:
THE GENERAL PICTURE 317 key'. 1 Els
Page 359 and 360:
THE RHYTHMIC MODES 319 are based fa
Page 361 and 362:
THE RHYTHMIC MODES 321 The lower vo
Page 363 and 364:
THE RHYTHMIC MODES 323 values were
Page 365 and 366:
THE RHYTHMIC MODES 325 The falling
Page 367 and 368:
THE CONDUCTUS 327 appears at the en
Page 369 and 370:
THE CONDUCTUS 329 reality. The same
Page 371 and 372:
Tort contd. THE CONDUCTUS 331
Page 373 and 374:
THE CONDUCTUS 333 (Under the type o
Page 375 and 376:
THE CONDUCTUS 335 Another tune, whe
Page 377 and 378:
DANCE MUSIC THE CONDUCTUS There are
Page 379 and 380:
DANCE MUSIC 339 Its position in the
Page 381 and 382:
THE RELATIONSHIP OF THE INDIVIDUAL
Page 383 and 384:
^ EARLY ENGLISH PART-SONGS s Je flo
Page 385 and 386:
ORGANUM The appoggiatura formation
Page 387 and 388:
ORGANUM 347 Perotin comes from Anon
Page 389 and 390:
CLAUSULAE 349 also combinations of
Page 391 and 392:
'ENGLISH DESCANT* 351 years no conf
Page 393 and 394:
XI THE MOTET AND ALLIED FORMS By DO
Page 395 and 396:
GENERAL CHARACTERISTICS 355 an inst
Page 397 and 398:
THE ORIGINAL STRUCTURE OF THE MOTET
Page 399 and 400:
TENOR THEMES 359 tions of the Grego
Page 401 and 402:
'MANERE' the Gradual for the feast,
Page 403 and 404:
'MANERE' 363 From the verse of the
Page 405 and 406:
'MANERE' 365 The tenor melody is re
Page 407 and 408:
-ri - a, ma-ter pi - a, stel - la m
Page 409 and 410:
NOTATION 369 diamond shape for the
Page 411 and 412:
MUSICA FICTA 371 scientific, and in
Page 413 and 414:
MUSICA FICTA 373 Transcription and
Page 415 and 416:
INTERCHANGE AND IMITATION 375 - am.
Page 417 and 418:
INTERCHANGE AND IMITATION gnificat]
Page 419 and 420:
LATER ARS ANTIQUA 379 evolving the
Page 421 and 422:
MENSURAL NOTATION 381 tempus (later
Page 423 and 424: MENSURAL NOTATION 383 four or more
Page 425 and 426: TECHNICAL DEVELOPMENTS 385 ( x ) Te
Page 427 and 428: TECHNICAL DEVELOPMENTS 387 while th
Page 429 and 430: A doubt has been cast 1 HARMONY 389
Page 431 and 432: 5-F In MS. ISORHYTHM 391 32 ^ m -bi
Page 433 and 434: Ex. 216 Veritatem ISORHYTHM 393 s ^
Page 435 and 436: ISORHYTHM 395 (Triplum: O Mary, vir
Page 437 and 438: ENGLISH MOTETS FOR FOUR VOICES * D
Page 439 and 440: HOCKET in va - cu- m is al-mis pre
Page 441 and 442: DUPLE TIME 401 val of nearly fifty
Page 443 and 444: 'SUMER IS ICUMEN IN' 403 it is also
Page 445 and 446: BIBLIOGRAPHY GENERAL ADLER, GUIDO:
Page 447 and 448: BIBLIOGRAPHY 407 KIRCHHOFF, K.: Die
Page 449 and 450: BIBLIOGRAPHY PaUographie musicale,
Page 451 and 452: BIBLIOGRAPHY 411 MOBERG, C. A, : Vb
Page 453 and 454: (ii) Books and Articles BIBLIOGRAPH
Page 455 and 456: SOWA, HEINRICH: TextvariationenzurM
Page 457 and 458: BIBLIOGRAPHY 417 WOLF, JOHANNES: 'D
Page 459 and 460: Aristotle, 325, 372. Aries, 73, 74.
Page 461 and 462: Contakion, see Kontakion. Contrary
Page 463 and 464: Gnostics, 8. Godric, St., 251. Goli
Page 465 and 466: Leo the Great, Pope, 95, 119. Leo I
Page 467 and 468: Rome, Vatican Libr., Archives of St
Page 469 and 470: Pitch, 287, 293. Plainsong, 105. Ru
Page 471 and 472: Reinach, T., 5 nl . Reinmar von Zwe
Page 473: Timocles, 19. Tintern, 314. Tischle
show all

Untitled

Create successful ePaper yourself

Delete template?

Save as template?