BIBLIOGRAPHY
The following bibliography lists introductory studies and is intended to help students in the preparation of course papers. All works listed here are in English. In most cases, each of these books and articles contains either its own bibliography or copious footnotes that suggest yet additional useful sources for research. For help in the challenging task of writing about the ephemeral art of music, see the essay “Writing a Research Paper on a Musical Topic” by Professor Sterling Murray contained in the Student Workbook for Music in Western Civilization.
Abbreviations:
Aesthetics = A History of Western Musical Aesthetics, ed. EdwardLippman. Lincoln: University of Nebraska Press, 1992.
Age of the Renaissance = Music in the Age of the Renaissance, Leeman Perkins.New York: Norton, 1999.
Antiquity = Antiquity and the Middle Ages, ed. James McKinnon, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1991.
Baroque Music = Baroque Music, 3rd ed., Claude V. Palisca. Upper Saddle River, NJ: Prentice Hall, 1991.
Baroque Music 1580-1750= Baroque Music: Music in Western Europe 1580-1750, John Walter Hill. New York: Norton, 2005.
Cambridge= The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople. Cambridge: Cambridge University Press, 2004.
Classical Era = The Classical Era: From the 1740s to the end of the 18th Century, ed. Neal Zaslaw, in the series Man and Music. Englewood Cliffs, NJ: Prentice Hall, 1989.
Classical Style = The Classical Style: Haydn, Mozart, and Beethoven, expanded ed., ed. Charles Rosen. New York: Norton, 1997.
Composers= Composers on Modern Musical Culture: An Anthology, ed. Bryan R. Simms. New York: Schirmer Books, 1999.
Composition= Musical Composition in the Twentieth Century, ed. Arnold Whittall. New York: Oxford University Press, 1999.
Concise History=Romantic Music: A Concise History from Schubert to Sibelius, ed. Arnold Whittall.New York: Thames and Hudson, 1987.
Early Baroque = The Early Baroque Era: From the Late 16th Century to the 1660s, ed. Curtis Price, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993.
Early Romantic= The Early Romantic Era: Between Revolutions: 1789 and 1848, ed. Alexander Ringer, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1990.
EM = Early Music
European Capitals =Music in European Capitals: The Galant Style 1720-1780, Daniel Heartz. New York: Norton, 2003.
Exploring= Exploring Twentieth-Century Music: Tradition and Innovation, Arnold Whittall. Cambridge: Cambridge University Press, 2003.
Garland = The Garland Library of the History of Western Music, ed. Ellen Rosand. 14 vols. New York: Garland, 1985.
Hearing the Motet = Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Dolores Pesce.New York: Oxford University Press, 1997.
History in Documents = Music in the Western World: A History in Documents, ed. Piero Weiss and Richard Taruskin. New York: Schirmer Books, 1984.
Humanism = Humanism in Italian Renaissance Musical Thought, Claude V. Palisca. New Haven, CT: Yale University Press, 1985.
Hundred Years= A Hundred Years of Music, Gerald Abraham. Chicago: Aldine, 1964.
JAMS = Journal of the American Musicological Society
JM = Journal of Musicology
Josquin Companion = The Josquin Companion, ed. Richard Sherr.Oxford: Oxford University Press, 2000.
Late Baroque = The Late Baroque Era: From the 1680s to 1740, ed. George J. Buelow, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1994.
Late Renaissance = Music in Late Renaissance and Early Baroque Italy, Tim Carter.London: B. T. Batsford, 1992.
Late Romantic=The Late Romantic Era, ed. Jim Samson, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1991.
Medieval Music = Medieval Music, Richard H. Hoppin. New York: Norton, 1978.
Medieval Music 1978 =Medieval Music, John Caldwell. Bloomington: Indiana University Press, 1978.
Middle Ages = Music of the Middle Ages: Style and Structure, David Fenwick Wilson. New York: Schirmer Books, 1990.
Modern Music= Modern Music and After, Paul Griffiths. New York: Oxford University Press, 1995.
Modern Times= Modern Times: From World War I to the Present, ed. Robert P. Morgan, in the series Music and Society. Englewood Cliffs, NJ: Prentice Hall, 1993.
Music as Concept =Music as Concept and Practice in the Late Middle Ages, ed.Reinhard Strohm and Bonnie J. Blackburn. Oxford: Oxford University Press, 2001.
Music of the Baroque = Music of the Baroque, David Schulenberg. Oxford: Oxford University Press, 2001.
Music Since 1900= Music Since 1900, Nicolas Slonimsky. 5th ed. New York: Schirmer Books, 1994.
Musical Style= Twentieth-Century Music: A History of Musical Style in Modern Europe and America, Robert Morgan. New York: Norton, 1991.
NCM = 19th Century Music
New Directions= New Directions in Music, 7th ed., David Cope. Prospect Heights, IL: Waveland Press, 2001.
NG = The New Grove Dictionary of Music and Musicians, 2nd ed., ed. Stanley Sadie. London: Macmillan, 2001 (including Grove Music Online).
New Music= The New Music: The Avant-Garde Since 1945, 2nd ed., Reginald Smith Brindle. Oxford and New York: Oxford University Press, 1987.
New Oxford 9= The New Oxford History of Music, vol. 9 (Romanticism [1830–1890]), ed. Gerald Abraham. Oxford: Oxford University Press, 1990.
New Oxford 10= The Modern Age: 1890–1960. New Oxford History of Music, vol. 10. London: Oxford University Press, 1974.
Oxford History = The Oxford History of the English Music, John Caldwell. Vol. 1. Oxford: Clarendon Press, 1991.
Performance = Readings in the History of Music in Performance, ed. Carol MacClintock. Bloomington: Indiana University Press, 1979.
PRMA = Proceedings of the Royal Musical Association
Pyramids = Pyramids at the Louvre, Glenn Watkins. Cambridge, MA: Harvard University Press, 1994.
Renaissance = The Renaissance: From the 1470s to the End of the 16th Century, ed. Iain Fenlon, in the series Man and Society. Englewood Cliffs, NJ: Prentice Hall, 1989.
Renaissance Music = Renaissance Music: Music in Western Europe, 1400-1600, Allan W. Atlas. New York: Norton, 1998.
Rise of European Music =The Rise of European Music 1380-1500, Reinhard Strohm. Cambridge: Cambridge University Press, 1993.
Romantic Generation= The Romantic Generation, Charles Rosen. Cambridge, MA: Harvard University Press, 1995.
Romantic Music= Romantic Music: A History of Musical Style in Nineteenth-Century Europe, Leon Plantinga. New York: Norton, 1984.
Romanticism in Music= Nineteenth-Century Romanticism in Music, 3rd ed., Rey M. Longyear. Englewood Cliffs, NJ: Prentice-Hall, 1988.
Short History = A Short History of Opera, 4th ed., Donald Grout and Hermine Weigel Williams. New York: Columbia University Press, 2003.
Since 1945= Music Since 1945: Issues, Materials, and Literature, Elliott Schwartz and Daniel Godfrey. New York: Schirmer Books, 1993.
Sonata Forms = Sonata Forms, Rev. ed., Charles Rosen. New York: Norton, 1987.
Source Readings = Source Readings in Music History, Rev. ed., ed. Oliver Strunk. (Leo Treitler, gen. ed.) New York: Norton, 1998.
Studies =Studies in the History of Italian Music and Music Theory, Claude V. Palisca, Oxford: Clarendon Press, 1994.
Style and Structure= Music of the Twentieth Century: Style and Structure, 2nd ed., Bryan R. Simms. New York: Schirmer Books, 1986.
Twentieth-Century Music= Twentieth-Century Music: An Introduction, 4th ed., Eric Salzman. Englewood Cliffs, NJ: Prentice Hall, 2002.
Viennese School = Haydn, Mozart and the Viennese School 1740-1780, Daniel Heartz. New York: Norton, 1995.
Western Music Theory = Cambridge History of Western Music Theory, ed. Thomas Christensen. Cambridge: Cambridge University Press, 2002.
PART I: ANTIQUITY AND THE MIDDLE AGES
CHAPTER 1: Music in Ancient Greece
Surveys:
Barbera, André. “Greece.” In New Harvard Dictionary of Music, edited by Don Michael Randel. Cambridge, MA: Harvard University Press, 2003.
Mathiesen, Thomas J. Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press, 1999.
———. “Greece I. Ancient,” in NG.
———. “Greek Music Theory,” in Western Music Theory, 109–135.
Source Readings:
Barker, Andrew, ed. Greek Musical Writings:Vol. I.The Musician and His Art. Cambridge: Cambridge University Press, 1984.
———. Greek Musical Writings: Vol. II. Harmonic and Acoustic Theory. Cambridge: Cambridge University Press, 1989.
Mathiesen, Thomas J., ed. “Greek Views of Music,” in Source Readings, 3–109.
Weiss, Piero, and Richard Taruskin, eds. History in Documents, 1–14.
Specialized Studies:
Barbera, André, ed. Music Theory and Its Sources: Antiquity and the Middle Ages. Notre Dame, IN: Notre Dame University Press, 1990.
Barbour, J. Murray. “The Principles of Greek Notation.” JAMS 13 (1960): 1–17.
Maas, Martha, and Jane McIntosh Snyder. Stringed Instruments of Ancient Greece. New Haven, CT: Yale University Press, 1989.
CHAPTER 2: Antiquity to the Middle Ages: Music in Rome, Jerusalem and the Early Christian World
Surveys:
See the entry“Plainchant. Introduction: Chant in East and West,” in NG.
Hoppin, Richard H. “Historical Introduction (to A.D. 1000)” and “Christian Liturgy to A.D. 1000,” in Middle Ages, 1–42.
Idelsohn, Abraham Z. Jewish Music and Its Historical Development. New York: Holt, 1919. Reprint, New York: Dover, 1995.
McKinnon, James. “Christian Antiquity,” in Antiquity, 68–87.
Wellesz, Egon. A History of Byzantine Music and Hymnody. 2nd rev. ed. Oxford: Clarendon Press, 1961.
Source Readings:
Boethius, Anicius Manlius Severinus. Fundamentals of Music.Translated by Calvin Bower. Edited by Claude V. Palisca. New Haven, CT: Yale University Press, 1989.
McKinnon, James, ed. Music in Early Christian Literature. Cambridge: Cambridge University Press, 1987.
———. “Early Christian Views of Music” and “Music as a Liberal Art,” in Source Readings, 113–155.
Weiss, Piero, and Richard Taruskin, eds. “The Heritage of Antiquity,” in History in Documents, 15–40.
Specialized Studies:
Jeffrey, Peter. “Rome and Jerusalem: From Oral Tradition to Written Repertory in Two Ancient Liturgical Centers.” In From Rome to the Passing of the Gothic: Festschrift for David G. Hughes, edited by Graeme Boone, 207–248. Cambridge, MA: Harvard University Department of Music, 1995.
Lippmann, Edward A. “The Place of Music in the System of Liberal Arts.” In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue et al., 545–559. New York: Norton, 1966.
McKinnon, James W. “The Question of Psalmody in the Ancient Synagogue.” Early Music History 6 (1986): 159–191.
CHAPTER 3: Music in the Monastery and the Convent
Music:
The Liber Usualis. Tournai: Desclée, 1921. A useful collection of thousands of melodies serving the liturgy of the Roman Catholic Church prior to 1962.
Surveys:
See the entries “Plainchant. History to the 10th Century,” “Plainchant. Basic Repertory,” and “Plainchant. Style,” in NG.
Crocker, Richard L. An Introduction to Gregorian Chant. New Haven, CT: Yale University Press, 2000.
Hiley, David. Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.
Hoppin, Richard H. “Christian Liturgy to A. D. 1000,” “Gregorian Chant: General Characteristics,” “The Music of the Offices,” and “The Roman Mass,” in Middle Ages, 42–142.
McKinnon, James. “The Emergence of Gregorian Chant in the Carolingian Era,” in Antiquity, 88–119.
Wilson, David Fenwick. “Liturgy and Chant,” in Middle Ages, 37–67.
Source Readings:
McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source Readings, 159–186.
Specialized Studies:
Gallagher, Sean, ed. Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and its Music. Burlington, VT: Ashgate, 2003.
King, James C., and Werner Vogler, eds. The Culture of the Abbey of St. Gall. St. Gall: Abbey Archives, 2000.
CHAPTER 4: Music Theory In The Monastery
Surveys:
See the entry “Theory, Theorists. Early Middle Ages,” in NG.
Wilson, David Fenwick. “Medieval Chant,” in Middle Ages, 78–96.
Sources Readings:
McKinnon, James, ed. “Music Theory and Pedagogy in the Middle Ages,” in Source Readings, 189–218.
Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb. New Haven, CT: Yale University Press, 1978.
Weiss, Piero, and Richard Taruskin, eds. Various extracts, inHistory in Documents, 41–55.
Specialized Studies:
Bower, Calvin. “The Transmission of Ancient Music Theory into the Middle Ages,” in Western Music Theory, 136–167.
Cohen, David. “Notes, Scales and Modes in the Earlier Middle Ages,” in Western Music Theory, 307–363.
CHAPTER 5: Later Medieval Chant
Surveys:
See the entry “Plainchant. Expansion of the Repertory,” in NG.
Hiley, David. “Tropes,” “Sequences,” and “Liturgical Drama.” Pages 172–235 in Western Plainchant: A Handbook. Oxford: Clarendon Press, 1993.
Hoppin, Richard H. “Expansion of the Liturgy in the Later Middle Ages: Tropes and Sequences,” in Medieval Music, 143–186.
Source Readings:
McKinnon, James, ed. “Chant and Liturgy in the Early Middle Ages,” in Source Readings, 159–186.
Specialized Studies:
Atkinson, Charles. “The Earliest Agnus Dei Melody and Its Tropes.” JAMS 30 (1977): 1–19.
Smolden, William L. The Music of the Medieval Church Dramas. London: Oxford University Press, 1980.
Composers:
Hildegard of Bingen
Fassler, Margot. “Music for the Love Feast: Hildegard of Bingen and the Song of Songs,” in Women’s Voices Across Musical Worlds, edited by Jane Bernstein, 92–117. Boston: Northeastern University Press, 2004.
Hildegard of Bingen. Symphonia. Edited by Barbara Newman. Ithaca, NY: Cornell University Press, 1988.
———. Book of Divine Works with Letters and Songs. Edited by Matthew Fox. Santa Fe, NM: Bear & Company, 1987.
———. Secrets of God: Writings of Hildegard of Bingen. Edited by Sabina Flanagan. Boston: Shambhala, 1996.
CHAPTER 6: Troubadours And Trouvères
Surveys:
See the entry “Troubadours, Trouvères,” in NG.
Aubrey, Elizabeth. The Music of the Troubadours. Bloomington: Indiana University Press, 1997.
Bogin, Meg. The Women Troubadours: An Introduction to the Women Poets of 12th–Century Provence and a Collection of Their Poems. New York: Norton, 1980.
Dronke, Peter. The Medieval Lyric. 3rd ed. Rochester, NY: Brewer, 1996.
Vander Werf, Hendrik. The Chansons of the Troubadours and Trouvères: A Study of the Melodies and Their Relation to the Poems. Utrecht: Oosthoek, 1972.
Wilson, David Fenwick. “Secular Monophonic Music,” in Middle Ages, 165–180.
Source readings:
Doss-Quinby, E., J. T. Grimbert, W. Pfeffer, and E. Aubrey, eds. The Songs of the Women Trouvères. New Haven, CT: Yale University Press, 2001.
Weiss, Piero, and Richard Taruskin, eds. Various extracts, in History in Documents, 55–59.
Specialized Studies:
Page, Christopher. The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300. London: Dent, 1989.
Peters, Gretchen. “Urban Minstrels in Late Medieval Southern France: Opportunities, Status and Professional Relationships.” Early Music History 19 (2000): 201–235.
CHAPTER 7: Early Polyphony
Surveys:
See the entry “Organum,” in NG.
Caldwell, John. “The Growth of Polyphony, 900–1160,” in Medieval Music 1978, 114-130.
Gushee, Marion S. “The Polyphonic Music of the Medieval Monastery, Cathedral and University,” in Antiquity, 143–169.
Hoppin, Richard. “The Rise of Polyphony,” in Medieval Music, 187–214.
Wilson, David Fenwick. “Early Polyphony,” “Free Organum,” and “The Sacred Music of Southern France,” in Middle Ages, 97–163.
Source Readings:
Palisca, Claude V., ed. Hucbald, Guido, and John on Music. Translated by Warren Babb. New Haven, CT: Yale University Press, 1978, 77–82 and 159–161.
Specialized Studies:
Karp, Theodore. The Polyphony of St. Martial and Santiago de Compostela. 2 vols.Oxford: Oxford University Press, 1992.
Planchart, Alejandro. The Repertoire of Tropes at Winchester. 2 vols.Princeton, NJ: Princeton University Press, 1979.
CHAPTER 8: Polyphony at Notre Dame
Surveys:
See the entries“Organum, 8–10,” “Magnus liber,” “Discant,” “Leoninus,” and Perotinus.” in NG.
Hoppin, Richard. “The School of Notre Dame,” in Medieval Music, 215–255.
Wilson, David Fenwick. “Sacred Music in Paris,” in Middle Ages, 189–223.
Source Readings:
Anonymous IV. De mensuris et discantu. In The Music Treatise ofAnonymous IV: A New Translation. Translated by Jeremy Yudkin. Neuhausen-Stuttgart: Hänsler-Verlag, 1985.
McKinnon, James, ed. “Discantus positio vulgaris” and “De musica mensurabili,” in Source Readings, 218–226.
Specialized Studies:
Apel, Willi. “Square Notation.” In The Notation of Polyphonic Music. 5th ed. Cambridge, MA: Medieval Academy of America, 1961.
Baltzer, Rebecca. “Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript.” JAMS 25 (1971): 1–18.
Roesner, Edward, ed. Le Magnus liber organi de Notre Dame de Paris. Monaco: L’Oiseau-Lyre, 1993–.
Wright, Craig. Music and Ceremony at Notre Dame of Paris: 500–1550. Cambridge: Cambridge University Press, 1989.
CHAPTER 9: Conductus and Motet
Surveys:
See the entries “Philippe the Chancellor,” “Conductus,” and “Motet: France: Middle Ages,” in NG.
Hoppin, Richard. “The School of Notre Dame, II: Conductus and Motet,” in Medieval Music, 242–255.
Wilson, David Fenwick. “The Early Motet (ca. 1200–1270)” and “The Continental Motet of the Late Thirteenth Century (ca. 1270–1300),” in Middle Ages, 230–271.
Specialized Studies:
Baltzer, Rebecca A. “The Polyphonic Progeny of an Et Gaudebit,”in Hearing the Motet, 17–27.
Everist, Mark. French Motets in the Thirteenth Century: Music, Poetry and Genre. Cambridge: Cambridge University Press, 1994.
Falck, Robert. The Notre Dame Conductus: A Study of the Repertory. Henryville, PA: Institute of Mediaeval Music, 1981.
Payne, Thomas B. “Politics and Polyphony: Philip the Chancellor's Contribution to the Music of the Notre Dame School.” PhD diss., University of Chicago, 1991.
CHAPTER 10: Music Theory of the Ars Antiqua and Ars Nova
Surveys:
Busse Berger, Anna Maria. “The Evolution of Rhythmic Notation,” in Western Music Theory, 628–656.
Herlinger, Jan. “Music Theory of the Fourteenth and Fifteenth Centuries,” in Music as Concept, 244–300.
Hoppin, Richard. “From Modal to Mensural Notation,” in Medieval Music, 333–338.
Wilson, David Fenwick. “Mensural Rhythm,” in Middle Ages, 255–260.
Source Readings:
McKinnon, James, ed. Translations of treatises by Franco of Cologne, Jean des Murs, and Jacques de Liège in Source Readings, 226–245, 261–269, and 269–278.
Weiss, Piero, and Richard Taruskin, eds. Translations of treatises by Jean des Murs and Jacques de Liège, as well as the papal bull Docta sanctorum, in History in Documents, 67–72.
Specialized Studies:
Crosby, Alfred W. “Music.” Pages 139–163 in The Measure of Reality: Quantification and Western Society, 1250–1600. Cambridge: Cambridge University Press, 1997.
Fuller, Sarah. “A Phantom Treatise of the Fourteenth Century? The Ars Nova.” JM 4 (1985–1986): 23–50.
CHAPTER 11: Music at the Court of the French Kings
Surveys:
See the entries “Roman de Fauvel,” “Philippe de Vitry,” and “Isorhythm,” in NG.
Hoppin, Richard. “The Ars Nova in France,” in Medieval Music, 353–374.
Leech-Wilkinson, Daniel. “Ars Antiqua-Ars Nova-Ars Subtilior,” in Antiquity, 219–240.
Wilson, David Fenwick. “The Continental Motet in the Fourteenth Century,” in Middle Ages, 289–318.
Source Readings:
Philippe de Vitry. Ars nova. A translation of this treatise attributed to Vitry is given by Leon Plantinga, in Journal of Music Theory 5 (1961): 204–223.
Specialized Studies:
Avril, François, Nancy Regalado, and Edward Roesner, eds. Le Roman de Fauvel and Other Works: Facsimile with Introductory Essay. New York: Broude Brothers, 1986.
Bent, Margaret, and Andrew Wathey, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque nationale de France, MS français 146. Oxford: Clarendon Press, 1998.