Index

Week 8    The Contenance angloise

READING

Richard H. Hoppin, Medieval Music (New York and London, 1978), pp. 502–24 (library).

Howard M. Brown, ‘Dunstable and the Contenance Angloise’ in Music in the Renaissance (Englewood Cliffs, 1989) (library).

Leeman L. Perkins, ‘The Contenance Angloise’ and ‘The Ordinary of the Mass in England’ in Music in the Age of the Renaissance (New York and London, 1999) (library).

Eunice Schroeder, ‘Dissonance Placement and Stylistic Change in the Fifteenth Century: Tinctoris’s Rules and Dufay’s Practice’, The Journal of Musicology, 7 (1989), 366–89 (jstor).

Manfred F. Bukofzer, ‘The Music of the Old Hall Manuscript’ in Studies in Medieval and Renaissance Music (New York, 1950), LEN 780.9 J0, 34. A reprint of two articles and a postscript from The Musical Quarterly (jstor, jstor, jstor).

Andrew Hughes and Margaret Bent, ‘The Old Hall Manuscript’, Musica disciplina, 21 (1967), 97–147 (jstor).

Sylvia Kenney, Walter Frye and the Contenance Angloise (New Haven, 1964) (library).

William Summers, ‘English 14th-Century Polyphonic Music: An Inventory of the Extant Manuscript Sources with Reference to Facsimile and Performing Editions’, The Journal of Musicology, 8 (1990), 173–226 (jstor).

Charles Warren, ‘Brunelleschi’s Dome and Dufay’s Motet’, The Musical Quarterly, 59 (1973), 92– 105 (jstor).

Craig Wright, ‘Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin’, Journal of the American Musicological Society, 47 (1994), 395–441 (jstor).

Marvin Trachtenberg, ‘Architecture and Music Reunited: A New Reading of Dufay’s Nuper Rosarum Flores and the Cathedral of Florence’, Renaissance Quarterly, 54 (2001), 740–75 (jstor).

EDITIONS

Albert Ramsbotham, (ed.), The Old Hall Manuscript (Burnham, 1933—) (library). This is an old edition, but a cross-referencing table is available for comparison with the newer edition by Andrew Hughes and Margaret Bent, to which more recent scholars (e.g. Hoppin) refer.

John Dunstable: Works (imslp).

Guillaume Dufay: Opera omnia, ed. Heinrich Besseler (American Institute of Musicology, 1966) (library).

LISTENING

ESSAY TITLE

With reference to specific examples, survey the differences in musical style between what are now recognised as the late Medieval and early Renaissance periods in music history. How far can those changes be attributed to the causes posited by fifteenth-century writers on music?