Where appropriate as in the two chapters on Italy in particular, which reflect the richness of that area the discussion is further broken into sections according to locality. Strangely, there are no chapters on France or the Flemish and Burgundian schools.
The Cambridge Companion to Mozart
The final part of The Cambridge Companion to Medieval Music , or over a third of the book, dissects the material thematically. The topic of music and liturgy, for instance, is expertly covered with real succinctness by Sam Barrett.
Similarly, Ardis Butterfield surveys vernacular poetry and music, addressing all of the most important issues and using illustrations as appositely — as does Leofranc Holford-Strevens in the chapter that follows, on the same in Latin. In the next, longer, chapter Peter Lefferts presents a complement to Dolores Pesce's survey of Theory and Notation and looks at a representative subset of specific compositional style and practice focusing still more precisely on sacred chant and two-voice polyphony.
The final four chapters in this section look at Ecclesiastical foundations, manuscripts, the reception of medieval music since the period which Lawrence Earp divides into chant, song and polyphony ; and an interesting and predictably inspiring and thought-provoking chapter by Christopher Page, "The geography of medieval music". Given that travel, journeying, pilgrimage, banishment, peregrinations and the like were so common during this period — not least to find and follow patronage — this is a fascinating area of study… the idea of the "circuits" used by musicians and the corresponding loci of interest and attention.
The standard of the book's production is high. Unlike some of the other volumes in the Cambridge "Companion" series, this one has a very broad sweep. Everist has done a superb job of nevertheless eliciting from his contributors depth and substance.
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At the same time, the material is not dense. Nor overwhelming. The Cambridge Companion to Medieval Music will also provide much for the already informed reader and music-lover.
David Charlton , Jonathan Cross. This Companion is a fascinating and accessible exploration of the world of grand opera. Through this volume a team of scholars and writers on opera examine those important Romantic operas which embraced the Shakespearean sweep of tragedy, history, love in time of conflict, and the struggle for national self-determination. Rival nations, rival religions and violent resolutions are common elements, with various social or political groups represented in the form of operatic choruses.
The book traces the origins and development of a style created during an increasingly technical age, which exploited the world-renowned skills of Parisian stage-designers, artists, and dancers as well as singers. The volume also includes an essay by the renowned opera director David Pountney. The machine and the state.
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