- Hardcover: 622 pages
- Publisher: Clarendon Press; First Edition edition (11 Nov 1999)
- Language English
- ISBN-10: 0198164068
- ISBN-13: 978-0198164067
- Product Dimensions: 23.1 x 15.7 x 4.6 cm
- Amazon Bestsellers Rank: 1,088,525 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
A useful appendix sketching a chronology thoroughly updated in the light of current Busnoys scholarship ... Overall the essays in this book are so stimulating and wide-ranging in their approach that the findings presented in this long volume are far-reaching in their implications, not just for Busnoys studies (although especially for him) but for our understanding of the late medieval musical culture as a whole. (Music and Lettes )
Antoine Busnoys is a big book. Happily it is also an excellent one: the contributions are of a consistently high standard, are well organized and well written, and many address similar or related issues with a fair degree of cross-referencing in their footnotes. (Music and Lettes )
An extraordinarily comprehensive view of a composer who for most of us has been a shadowy figure. (American Recorder )
Antoine Busnoys is a big book. Happily it is also an excellent one: the contributions are of a consistently high standard, are well organized and well written, and many address similar or related issues with a fair degree of cross-referencing in their footnotes. (Music and Lettes )
An extraordinarily comprehensive view of a composer who for most of us has been a shadowy figure. (American Recorder )
Product Description
This volume brings together twenty original essays by distinguished scholars of late medieval music on the life, works, and cultural context of the composer Antoine Busnoys (c.1430-1492), musician to Charles the Bold, Duke of Burgundy, and one of the most celebrated composers of the fifteenth century. The essays present the results of much new research on music, ceremony, and ritual in the late Middle Ages; intertextual, contextual, and hermeneutic approaches to the music of Busnoys and his contemporaries; methods for assessing issues of authorship and anonymity; readings of theorists on compositional procedures and the performance of fifteenth-century music; and assessments of Busnoys's legacy to the musical culture of the late Middle Ages. Particularly noteworthy are the studies providing new light on the origins of L'homme armé mass tradition; unpublished documents on Busnoys's activity in churches in Poitiers and Brussels; previously unidentified liturgical sources for his plainchant cantus firmi; and studies and complete editions of several anonymous works newly attributed to Busnoys. These widely ranging essays offer a wealth of novel approaches to the study of musical culture in the late Middle Ages that is of interest not only to medievalists, but to students of all fields of music historical inquiry.
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First Sentence
WHEN Antoine Busnoys penned the poem containing the lines above, he embedded in them an acrostic yielding the name of a woman: one 'Jaqueljne d'Aqvevjle' ( Jacqueline d'Hacqueville). Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
WHEN Antoine Busnoys penned the poem containing the lines above, he embedded in them an acrostic yielding the name of a woman: one 'Jaqueljne d'Aqvevjle' ( Jacqueline d'Hacqueville). Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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