En savoir plus
Table des matières
Contents
List of Music Examples
List of Figures
List of Tables
[Acknowledgements]
Note on Music Examples and Naming Conventions
1 Introduction
2 Foundational Tenors and the Power Dynamics of Compositional Process
3 Talea and/as Color
4 A Catalogue of Upper-Voice Structures
5 The Hermeneutic Stakes: Reading Form in S’il estoit/S’Amours
6 A New Paradigm for Motet Composition: Colla/Bona Reconstructed
Conclusion
Appendix: Music-Theoretical Discussions of talea and color, c. 1340–1430
Bibliography
[Index]
A propos de l'auteur
Anna Zayaruznaya is interested in the cultural and compositional contexts of late-medieval song. Her first book, The Monstrous New Art: Divided Forms in the Late-Medieval Motet (Cambridge University Press, 2015), explores the roles played by monstrous and hybrid imagery in fourteenth-century musical aesthetics. More recent publications center on Philippe de Vitry (1291–1369), a poet and composer well known to music historians as a pioneer in the development of musical notation. Zayaruznaya received a PhD from Harvard University in 2010 and teaches at Yale University, where she co-convenes the Medieval Song Lab, an interdisciplinary working group focused on the history of musical notation. Her awards include the Van Courtlandt Elliott Prize from the Medieval Academy of America, the Gaddis Smith International Book Prize from the MacMillan center at Yale, a Project Grant from the Digital Humanities Lab at Yale, and a fellowship from the Radcliffe Institute for Advanced Study.
Résumé
A fresh look at motets suggesting a revised analytical vocabulary, revealing both color and talea to be involved with rhythmic repetition.
