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- catalog abstract ""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 re-creating 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 how medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than by the personalities of scholars and performers, their ideologies and their musical tastes?"--Jacket.".
- catalog contributor b12651027.
- catalog created "2002.".
- catalog date "2002".
- catalog date "2002.".
- catalog dateCopyrighted "2002.".
- catalog description ""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 re-creating 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 how medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than by the personalities of scholars and performers, their ideologies and their musical tastes?"--Jacket.".
- catalog description "Includes bibliographical references (p. 301-322) and index.".
- catalog description "Invention of the voices-and-instruments hypothesis -- Re-invention of the a cappella hypothesis -- Hearing medieval harmonies -- Evidence, interpretation, power and persuasion.".
- catalog extent "xi, 335 p. :".
- catalog identifier "0521818702".
- catalog identifier "9780521818704".
- catalog isPartOf "Musical performance and reception".
- catalog issued "2002".
- catalog issued "2002.".
- catalog language "eng".
- catalog publisher "Cambridge ; New York, NY : Cambridge University Press,".
- catalog subject "ML172 .L483 2002".
- catalog subject "Music 500-1400 History and criticism.".
- catalog subject "Performance practice (Music) History 20th century.".
- catalog subject "Performance practice (Music) History To 1500.".
- catalog tableOfContents "Invention of the voices-and-instruments hypothesis -- Re-invention of the a cappella hypothesis -- Hearing medieval harmonies -- Evidence, interpretation, power and persuasion.".
- catalog title "The modern invention of medieval music : scholarship, ideology, performance / Daniel Leech-Wilkinson.".
- catalog type "Criticism, interpretation, etc. fast".
- catalog type "History. fast".
- catalog type "text".