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With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.

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• Illustrations
• Music examples
• Abbreviations
• Introduction
• Contributors
• I The Music of the Past and the Modern Ear
• 1 The good, the bad, and the boring
• 2 Value Judgements in music of the Renaissance
• 3 The English a cappella heresy
• 4 Going down on record
• 5 The work is not the performance
• 6 Beyond authenticity
• 7 Hard-sell, scholarship, and silly titles
• II Aspects of Music and Society
• 8 Centre and periphery: mainstream and provincial music
• 9 The meeting of sacred ritual and secular piety: endowments for music
• 10 Ritual reflections
• 11 Musicus and cantor
• 12 A day in the life of Francisco de Peñalosa
• 13 A portrait of Sir Henry Unton
• 14 Women's history and early music
• III Questions of Form and StyleGenres: Vocal
• 15 Chant, or the politics of inscription
• 16 Monophonic song: quesions of category
• 17 Early Western polyphony
• 18 The late-medieval motet
• 19 Mass polyphony
• 20 Polyphonic song
• 21 Genre and function: some thoughts on Italian secular vocal music in the sixteenth century Genres: Instrumental
• 22 Fourteenth- and fifteenth-century keyboard music
• 23 Plucked instruments: silver tones of a golden age
• 24 The medieval fiddle: reflections of a performer
• 25 On the trail of ensemble music in the fifteenth century
• 26 Wind ensembles in the RenaissanceTechniques of Composition
• 27 Musical design and the rise of the cyclic Mass
• 28 Borrowed music: `Allez regrets' and the use of pre-existent material
• IV Using the Evidence
• 29 Music and pictures in the Middle Ages
• 30 Music in Italian Renaissance painting
• 31 Echoes of the past in the present
• 32 Surviving instruments
• 33 Unwritten and written music
• 34 Researching the past: archival studies
• 35 A manuscript case-study
• V Pre-Performance Decisions
• 36 The editor: diplomat or dictator?
• 37 Mode
• 38 Musica ficta
• 39 Renaissance pitch
• 40 Is underlay necessary?
• 41 Restored pronunciation
• 42 Finding the right context: where to perform early music
• VI Performance Techniques
• 43 Framing the life of the words
• 44 Reconstructing lost voices
• 45 Pythagoras at the forge: tuning in early music
• 46 Tempo to 1500
• 47 Tempo and tactus after 1500
• 48 Divisions in Renaissance music
• 49 `Perfect' instruments
• Chronology
• Glossary
• Index

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CHOICE Review

It is hard to imagine a better survey of the current state of research in all aspects of the music of these two periods as a supplement to more general histories such as those of Richard H. Hoppin (Medieval Music, CH, Dec'78) or Jeremy Yudkin (Music in Medieval Europe, 1989). Forty-five musicologists, theorists, and performers have written short essays, almost all with appended bibliographies, addressing specialties from the pronunciation and vocal production of Tudor English to value judgments in repertory choices to rediscovering the oral tradition. Many contributions are presented from the newly popular ethnomusicological approach. Almost all contributors write in an informal conversation style, removing the possibility of intimidation that their frequently esoteric topics might suggest. An extensive glossary of musicians and terms and a chronology are ancillary companions to this excellent collection. A fascinating and timely symposium for listeners and scholars who have some familiarity with the basics of chronology and genre; an excellent stimulus for further research. Undergraduate; graduate; faculty; professionals. J. P. Ambrose; University of Vermont