LEADER 05169nam  22011774a 450 
001 9910783669903321
005 20200520144314.0
010   $a9786612357312
010   $a0-520-93064-9
010   $a1-282-35731-X
010   $a1-4237-3134-4
010   $a1-59875-803-9
024 7 $a10.1525/9780520930643
035   $a(CKB)1000000000246845
035   $a(EBL)240965
035   $a(OCoLC)475955462
035   $a(SSID)ssj0000200758
035   $a(PQKBManifestationID)11176703
035   $a(PQKBTitleCode)TC0000200758
035   $a(PQKBWorkID)10240282
035   $a(PQKB)11736285
035   $a(StDuBDS)EDZ0000084666
035   $a(OCoLC)62196185
035   $a(MdBmJHUP)muse30455
035   $a(DE-B1597)519869
035   $a(DE-B1597)9780520930643
035   $a(Au-PeEL)EBL240965
035   $a(CaPaEBR)ebr10091263
035   $a(CaONFJC)MIL235731
035   $a(MiAaPQ)EBC240965
035   $a(EXLCZ)991000000000246845
100   $a20040715d2005      ub             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aMedieval music and the art of memory$b[electronic resource] /$fAnna Maria Busse Berger
210   $aBerkeley $cUniversity of California Press$dc2005
215   $a1 online resource (305 p.)
300   $aDescription based upon print version of record.
311   $a0-520-24028-6 
320   $aIncludes bibliographical references (p. 255-279) and index.
327   $aPrologue : the first great dead white male composer -- The construction of the memorial archive -- Tonaries : a tool for memorizing chant -- Basic theory treatises -- The memorization of organum, discant, and counterpoint treatises -- Compositional process in polyphonic music -- Compositional process and transmission of Notre Dame polyphony -- Visualization and the composition of polyphonic music.
330   $aThis bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations.
606   $aMusic$y500-1400$xHistory and criticism
606   $aMusic$y15th century$xHistory and criticism
606   $aComposition (Music)$xHistory
606   $aMemory
610   $aantiphons.
610   $aart.
610   $acarolingian modes.
610   $achant.
610   $acomposers.
610   $acomposition.
610   $adiscant.
610   $aharmony.
610   $aimprovisation.
610   $aintervals.
610   $aintonations.
610   $aisorhythmic motets.
610   $aliteracy.
610   $amedieval history.
610   $amedieval music.
610   $amelismas.
610   $amemorization.
610   $amemory.
610   $amusic history.
610   $amusic theory.
610   $amusic.
610   $amusicology.
610   $anonfiction.
610   $anote progression.
610   $anotre dame polyphony.
610   $aoral composition.
610   $aoral transmission.
610   $aorality.
610   $aorganum.
610   $aperforming arts.
610   $apolyphonic music.
610   $apolyphony.
610   $apsalm tones.
610   $apseudo chilston.
610   $areligious music.
610   $arhythm.
610   $atonaries.
610   $atransmission.
610   $avisualization.
615  0$aMusic$xHistory and criticism.
615  0$aMusic$xHistory and criticism.
615  0$aComposition (Music)$xHistory.
615  0$aMemory.
676   $a780/.9/02
700   $aBerger$b Anna Maria Busse$01580056
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910783669903321
996   $aMedieval music and the art of memory$93860649
997   $aUNINA