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The Modern Invention of Medieval Music: Scholarship, Ideology, Performance (Musical Performance and Reception)
 
 
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The Modern Invention of Medieval Music: Scholarship, Ideology, Performance (Musical Performance and Reception) [ペーパーバック]

Daniel Leech-Wilkinson

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Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes?

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Scholars and performers of the nineteenth and twentieth centuries attempted to revive music that could evoke the Middle Ages. They invented new sounds and new ways of understanding medieval music. This is the fascinating story of the musicians and the societies in which they worked to remake a lost musical world.
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Anyone interested in early music, unless they are British and under about twenty-five, will have grown up with the idea that medieval polyphony uses instruments, and lots of them: in songs they play the tenor and contratenor, often join the singer of the cantus in unison or at the octave; in sacred music they play the cantus firmus and accompany the voices singing the other parts. 最初のページを読む
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5つ星のうち 5.0 How early music performers got that way 2003/2/10
投稿者 Jerome F. Weber - (Amazon.com)
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The author tells us how medieval and early Renaissance music acquired its voices-cum-instruments interpretation, then shows that the recent shift to unaccompanied voices in music of these periods is the recovery of an earlier understanding. The first chapter, "The invention of the voices-and-instruments hypothesis," shows that those who rediscovered old music in the 19th century considered it purely vocal music. Even Hugo Riemann in his Musik Lexicon (1892 and 1893 editions) agreed completely. But in his 1905 edition, Riemann insisted that untexted parts of polyphonic songs were played on instruments, and many phrases of texted melodies were actually instrumental preludes, interludes and postludes. This soon became the standard point of view, for Riemann's book was a popular and influential reference. Guido Adler was one of the few scholars who disagreed. Medieval illustrations of singers and instrumentalists were misinterpreted to reinforce this thinking. In chapter 2, "The re-invention of the a cappella hypothesis," he recounts the early reaction to this orthodoxy in the 1950s and the turning point of Christopher Page's 1977 article in Early Music. Since then, Page, Andrew Parrott and Paul Hillier have led many performances and recordings that demonstrated the sound of early music without instruments, and David Fallows supported their efforts in his writings. Two more chapters fill in the background of the arguments. National prejudices and Nazi ideology come into play, and details are provided. No one who listens to early music will want to pass up this magisterial treatment of its 20th-century evolution. The fight is not yet over, for most recordings of this music still use instruments in the fashion that Leech-Wilkinson thoroughly discredits in this engaging book.
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