Week 5: Rhythm in twelfth-century polyphony
Essay Title
With reference to at least two pieces from the Saint Martial and Santiago de Compostela repertories, critically assess the editorial methodology of Theodore Karp and Hendrik van der Werf.
Reading
Leo Treitler, ‘The Polyphony of St Martial’, Journal of the American Musicological Society, 17 (1964), 29–42 (jstor)
Sarah Fuller, ‘The Myth of “Saint Martial” Polyphony’, Musica disciplina, 33 (1979), 5–26 (jstor)
James Grier, ‘Scribal Practices in Aquitanian Versaria of the Twelfth Century: Towards a Typology of Error and Variant’, Journal of the American Musicological Society, 45 (1992), 373–427 (jstor)
Theodore Karp, The Polyphony of St Martial and Santiago de Compostela (Oxford: Oxford University Press, 1992) (library)
Hendrik van der Werf, The Oldest Extant Part Music and the Origin of Western Polyphony (author’s publication, Rochester, NY, 1993) (library)
Richard Crocker, ‘Two Recent Editions of Aquitanian Polyphony’, Plainsong and Medieval Music, 3 (1994), 57–101 (library)
James Grier, ‘A New Voice in the Monastery: Tropes and Versus from Eleventh- and Twelfth-Century Aquitaine’, Speculum, 69 (1994), 1023–69 (jstor)
Theodore Karp, ‘Evaluating Performances and Editions of Aquitanian Polyphony', Acta musicologica, 71 (1999), 19–49 (jstor)
Rachel Golden Carlson, ‘Striking Ornaments: Complexities of Sense and Song in Aquitanian “Versus”’, Music & Letters, 84 (2003), 527–56 (jstor)
————, ‘Two Paths to Daniel’s Mountain: Poetic-Musical Unity in Aquitanian Versus’, The Journal of Musicology, 23 (2006), 620–46 (jstor)