This resource is divided into separate sections for editions, essay collections, Ordo virtutum, performance practice, and so on. Significant publications of Hildegard’s nonmusical works are included as well.
Category Archives: Middle Ages
The volume presents facsimiles of sources used in Castel Tirolo, which was the historical seat of the counts of Tirolo and gave the region its name. Discussions of historical and musicological issues are also included.
Of the two extant sources, the Paris version is by far the rowdier one—three characters that do not appear in the Aix version engage in mooning the audience, playing with sheep dung, and speaking in unimaginable metaphors worthy of Hungarians.
Common to both versions, Robin, Marion, and the seducing knight are more stock characters, but their lines are pithy and suggestive—e.g., from the scene depicted above:
Knight: You surely won’t put up a fight—you’re just a peasant, I’m a knight!
Marion: Money can’t buy love, you know.
Knight: It can buy something like it, though.
This according to “The hows and whys of Adam de la Halle’s Robin & Marion” by Lucy E. Cross (Early music America XVII/1 [Spring 2011] pp. 38–42). Below, a complete family-friendly performance of the work.
As one of the essential liberal arts in the Middle Ages, music was at the center of the era’s thought and culture. That is why the collection addresses the field of music as part of a wide and varied cultural history, often in interdisciplinary terms, offering a fresh look at the role of music in medieval society. The first volume in the series is The calligraphy of medieval music by John Haines.
Related article: Codici online
Ludus Danielis (Beauvais, 13th century), one of the most discussed and performed liturgical dramas of the Middle Ages, is found in only one manuscript (GB-Lbl MS Egerton 2615) together with the New Year’s Office from Beauvais, indicating an association with that celebration.
Chants at certain important points of the play are intriguing not only for their musicological interest or for their theological or liturgical associations, but also in terms of time representation and the genre, which does not easily lend itself to the scholarly categories of liturgy or drama.
This according to “Danielis ludus and the Latin music dramatic traditions of the Middle Ages” by Nils Holger Petersen, an essay included in The past in the present (Budapest: Liszt Ferenc Zeneművészeti Egyetem, 2003) pp. 291–307.
Digital Image Archive of Medieval Music inaugurated the series DIAMM facsimiles in 2010 with The Eton choirbook. Edited by Magnus Williamson, the book presents a full-color facsimile edition of Eton College Library MS 178, an iconic source of English choral polyphony composed during the late fifteenth and early sixteenth centuries that has been continuously in the possession of Eton College since it was first copied for use in the college chapel in the early 1500s.
CANTUS: A database for Latin ecclesiastical chant is a free online resource that assembles and publishes indices of over 380,000 chants found in manuscript and early printed sources for the liturgical Office. The database is searchable by text incipit, keyword, Corpus Antiphonalium Officii identification number, or Liturgical occasion.
Produced by a team of scholars from the Ústavu hudební vědy at Masarykova univerzita in Brno, Melodiarium hymnologicum Bohemiae is a digital catalogue of monophonic Latin, Czech, and German sacred song found in sources located in the Czech lands or imported into the Czech lands, from the earliest beginnings until the eighteenth century. The database, which is largely bilingual in Czech and English, includes facsimiles and text and melody indexes, along with numerous annotations. While users must establish logins, no fee is required; the resource is supported by the Ministerstva školství, mládeže a tělovýchovy České republiky.
Built at the behest of Richard Beauchamp, 13th Earl of Warwick (1382–1439), the Beauchamp Chapel at the Collegiate Church of St Mary, Warwick, is a remarkable survival of fifteenth-century architecture, sculpture, and—above all—stained glass. These windows are well known to organologists for their depictions of instruments and performance practice; they also provide useful information about chant and polyphony in fifteenth-century England by preserving fragments of neumatic notation.
Over the centuries craftspeople have restored damaged windows, and, lacking the requisite musical training, they often left replacement staves blank; but in two cases nonsense neumes were devised, supplying consistent-looking décor that most observers would never suspect was counterfeit.