[Footnotes]

[Footnotes]
1
Edward Jones, Musical and Poetical Relicks of the Welsh Bards (London, 1794), I, 35.
Jones
I
Musical and Poetical Relicks of the Welsh Bards
1794
3
F. J. Fétis, Histoire de la Musique (Paris, 1876), V, 320.
Fétis
V
Histoire De La Musique
1876
4
"Is Gerald of Wales a Credible Musical Witness," (to be published in The Musical Quarterly, LXX [1984]) I
I
LXX
The Musical Quarterly
1984
5
James F. Dimock, (ed.), Giraldi Cambrensis opera, Rerum Britannicum medii aevi scriptores, 21 (London, 1868), VI, 189-91.
Dimock
VI
21
Giraldi Cambrensis Opera, Rerum Britannicum Medii Aevi Scriptores
1868
5a
Lloyd Hibberd's translation in "Giraldus Cambrensis on Welsh Popular Singing," Essays on Music in Honor of Archibald T. Davison (Cambridge, Mass. 1957), pp. 17-18
Hibberd
Giraldus Cambrensis on Welsh Popular Singing
17
Essays on Music in Honor of Archibald T. Davison
1957
Dom Anselm Hughes has published another translation in "Music in Fixed Rhythm." New Oxford History of Music (London, 1954), II, 315-16
Hughes
Music in Fixed Rhythm
II
New Oxford History of Music
1954
Ernest Sanders' partial translation in "Rondellus," New Grove Dictionary of Music and Musicians (London, 1980), XVI, 171
Sanders
Rondellus
XVI
New Grove Dictionary of Music and Musicians
1980
The Journey Through Wales and The Description of Wales
The Journey Through Wales and the Description of Wales
Lewis Thorp (Bungay, 1978)
Giraldi, Opera, VI, xxii- xxxii
Giraldi
xxii
VI
Opera
6
Ernst Ferand, Die Improvisation in der Musik (Zürich, 1938), pp. 114-16
Ferand
114
Die Improvisation in Der Musik
1938
"Giraldus," Riemann Musiklexikon (Mainz, 1959), p. 630
Giraldus
630
Riemann Musiklexikon
1959
Reese, Music in the Middle Ages, p. 388
Reese
388
Music in the Middle Ages
Werner Bachmann, "Die Verbreitung des Quintierens in europdäischen Volkgesang des späten Mittelalters," Festschrift Max Schneider (Leipzig, 1955), pp. 25-29
Bachmann
Die Verbreitung Des Quintierens in europdäischen Volkgesang Des Späten Mittelalters
25
Festschrift Max Schneider
1955
Bukofzer interpreted Northumbrian polyphony as parellel fifths, and before retracting his view, Welsh polyphony as canon ("Popular Polyphony in the Middle Ages," The Musical Quarterly XXVI [1940], 33-34)10.2307/738999
33
Hibberd ("G. Cambrensis on Welsh Popular Singing," p. 21)
Hibberd
21
G. Cambrensis on Welsh Popular Singing
7
"Faburden-New Sources, New Evidence: A Preliminary Survey," in Edward Olleson (ed.), Modern Musical Scholarship (Stocksfield, 1980), p. 36.
Olleson
Faburden-new Sources, New Evidence: a Preliminary Survey
36
Modern Musical Scholarship
1980
8
Ibid., p. 32
32
9
Fritz Reckow, "Organum," in Hans H. Eggebrecht (ed.), Handwörterbuch der Musikalischen Terminologie (Wiesbaden, 1971-), II
Reckow
Organum
II
Handwörterbuch Der Musikalischen Terminologie
1971
idem, "Organum," The New Grove, XIII, 796-808
Reckow
796
XIII
The New Grove
Gilbert Reaney, "Terminology and Medieval Music," Festschrift Heinrich Besseler (Leipzig, 1961), pp. 149-53
Reaney
Terminology and Medieval Music
149
Festschrift Heinrich Besseler
1961
10
Topographia Hibernica, opera V, pp. 153-54.
153
V
Topographia Hibernica, Opera
11
Ibid
12
Hibberd, "G. Cambrensis on Welsh Popular Singing," pp. 17, 21.
Hibberd
17
G. Cambrensis on Welsh Popular Singing
13
Walter Wiora, "Zwischen Einstimmigkeit und Mehrstimmigkeit," Festschrift Max Schneider, pp. 319-34
Wiora
Zwischen Einstimmigkeit Und Mehrstimmigkeit
319
Festschrift Max Schneider
Ernst Apfel, "Volkskunst und Hoch- kunst in der Musik des Mittelalters," Archivfür Musikwissenschaft XXV (1968), 83-84
Apfel
83
XXV
Archivfür Musikwissenschaft
1968
14
Hibberd, "G. Cambrensis on Welsh Popular Singing," p. 17.
Hibberd
17
G. Cambrensis on Welsh Popular Singing
15
Dom A. Hughes, "Music in Fixed Rhythm," p. 316.
Hughes
316
Music in Fixed Rhythm
16
Ernest Sanders, "England: From the Beginnings to c. 1540," in Frederick W. Sternfeld (ed.), Music From the Middle Ages to the Renaissance (London, 1973). p. 264.
Sanders
England: From the Beginnings to C. 1540
264
Music From the Middle Ages to the Renaissance
1973
17
Charles Burney, A General History of Music (London. 1776), 2nd ed. (1789). I. 685.
Burney
2
I
A General History of Music
1789
18
Ibid.. p. 484
484
History of Music (London, 1928), p. 35
35
History of Music
1928
19
English Music (London, 1931), p. 14.
14
English Music
1931
20
Geschichte des englischen diskants und des fauxbourdons (Strassburg, 1936). p. 106
106
Geschichte Des Englischen Diskants Und Des Fauxbourdons
1936
idem, Sumer is icumen in, A Revision (Berkeley. 1944), p. 82. n. 16
82
Geschichte Des Englischen Diskants Und Des Fauxbourdons Sumer is Icumen In, a Revision
1944
21
"The Summer Canon and its Background." Musica Disciplina III (1949). p. 79
79
III
Musica Disciplina
1949
Nino Pirrotta. "On the Problem of Sumer is icumen in," ibid.. II (1948). 205-16
Pirrotta
205
II
Musica Disciplina
1948
Bertram Schofield. "The Provenance and Date of 'Sumer is icumen in,'" The Music Review IX (1948). 81-86
Schofield
81
IX
The Music Review
1948
Ernest Sanders. "Sumer is icumen in." New Grove XVIII, 366
Sanders
366
XVIII
New Grove
Music in the Middle Ages. p. 396
396
Music In the Middle Ages
22
Ernest Walker, A History of Western Music, 3rd ed.. revised by Jack Westrup (Oxford. 1952), p. 3
Walker
3
3
A History of Western Music
1952
Ernest Sanders. "Rondellus," p. 171
Sanders
171
Rondellus
Richard Hoppin. Medieval Music (New York, 1978). p. 346
Hoppin
346
Medieval Music
1978
23
"Oral. Written, and Literate Process in the Transmission of Medieval Music." Speculum LVI (1981), 473.
473
LVI
Speculum
1981
24
"Thoughts on Improvisation: A Comparative Approach," The Musical Quarterly LX (1974), 19.
19
LX
The Musical Quarterly
1974
25
Ibid., p. 7.
7
26
Sanders, "England: From the Beginnings." p. 273.
Sanders
273
England: From the Beginnings
27
Handschin, "The Summer Canon and its Background," p. 59
Handschin
59
The Summer Canon and Its Background
Topogra- phia (Opera. V. 155)
155
V
Topographia (opera.
Robert Grosseteste (c. 1168-1253)
E. K. Chambers, The Medieval Stage (London, 1905), 1, 57-58 and passim
Chambers
1
The Medieval Stage
1905
Gilbert Reaney, 'The Musician in Medieval England," The Monthly Musical Record LXXXIX (1959). 3
Reaney
3
LXXXIX
The Monthly Musical Record
1959
Richard Rastall, 'Minstrelsy, Church and Clergy in Medieval England." Proceedings of the Royal Musical Association XCVII (1970-71), 8310.2307/766193
83
28
E. J. Dobson and Frank LI. Harrison, Medieval English Songs [London, 1979], p. 95
Dobson
95
Medieval English Songs
1979
Sanders ("Sumer is icumen in," Grove, p. 366)
Sanders
366
Sumer is Icumen In
29
Walter Wiora, "Der Mittelalterliche Liedkanon," Gesellschaft für Musikforschung Kongress-Bericht (Lüne- burg, 1950), pp. 71-75.
Wiora
Der Mittelalterliche Liedkanon
71
Gesellschaft Für Musikforschung Kongress-bericht
1950
30
Ernst Emsheimer, "Some Remarks on European Folk Polyphony," International Folk Music Journal XVI (1964), 44
Emsheimer
44
XVI
International Folk Music Journal
1964
31
Nec arte tamen, sed usu longaevo, et quasi in naturam mora diutina jam converso, haec vel illa sibi gens hanc specialitatem comparavit. Opera, VI, 190.
190
VI
Nec Arte Tamen, Sed Usu Longaevo, Et Quasi in Naturam Mora Diutina Jam Converso, Haec Vel Illa Sibi Gens Hanc Specialitatem Comparavit. Opera
32
Nettl, "Thoughts on Improvisation," pp. 9-10
Nettl
9
Thoughts on Improvisation
Reese (Music in the Middle Ages, p. 337)
Reese
337
Music in the Middle Ages
Bukofzer ("Popular and Secular Music in England," New Oxford History of Music [London, 1960], III, 109)
Bukofzer
Popular and Secular Music in England
III
New Oxford History of Music
1960
Sanders ("England: From the Beginnings," p. 273)
Sanders
273
England: From the Beginnings
Harrison (Medieval English Songs, p. 94)
Harrison
94
Medieval English Songs
33
Puellare gremium/Purissima mater. Ernest Sanders, (ed.). English Music of the 13th and EarlY 14th Centuries, Polyphonic Music of the 14th Century (Monaco, 1979), XIV, 95.
Sanders
English Music of the 13th and Early 14th Centuries, Polyphonic Music of the 14th Century
XIV
Puellare Gremium/purissima Mater
1979
34
Campanis cum cymbalis, in Sanders, English Music, p. 116.
Sanders
Campanis Cum Cymbalis
116
English Music
35
Zofia Lissa, "On the Evolution of Musical Perception," Journal of Aesthetics and Art Criticism XXIV (1965), 273-86.10.2307/427696
273
36
Ernest Sanders. 'Tonal Aspects of 13th-Century English Polyphony.' Acta Musicologica XXXVII (1965). 21-2210.2307/932336
21
37
"Sanders, ed.," English Music of the 13th and Early 14th Centuries, pp. 116, 87
Sanders
116
English Music of the 13th and Early 14th Centuries
pp. 89. 90, 97, 104
39
Sylvia Kenney, Walter Frye and the Contenance Angloise (New Haven, 1965), pp. 178-79
Kenney
178
Walter Frye and the Contenance Angloise
1965
Manfred Bukofzer, "John Dunstable: A Quincentenary Report,. The Musical Quarterly LX (1954), 44- 4510.2307/739701
44
Charles Hamm, "A Catalog of Anonymous English Music in 15th-Century Continental Manuscripts." Musica Disciplina XXII (1968), 58-59
Hamm
58
XXII
Musica Disciplina
1968
41
Harrison, Medieval English Songs, p. 95
Harrison
95
Medieval English Songs
42
English Music of the 13th and Early 14th Centuries, pp. 98, 34, 95, 213, 109, 216
98
English Music of the 13th and Early 14th Centuries
pp. 53. 102
Luther Dittmer (ed.), The Worcester Fragments, Musicological Studies and Documents 2 (n.p., 1957), pp. 36, 42, 57, 108
Dittmer
36
2
The Worcester Fragments, Musicological Studies and Documents
1957
43
Ernest Sanders, Medieval English Polyphony and its Significance for the Continent, (Pd.D. dissertation, Columbia University, 1963), pp. 113, 121.
44
Bruno Nettl, "Unifying Factors in Folk and Primitive Music," Journal of the American Musicological Society IX (1956), 196-20110.2307/829883
196
idem, "Notes on the Concept and Classification of Polyphony," Festschrift Friedrich Blume (Kassel, 1963), p. 251
Nettl
Notes on the Concept and Classification of Polyphony
251
Festschrift Friedrich Blume
1963
45
Charles Seeger, "Versions and Variants of the Tunes of "Barbara Allen'," in his Studies in Musicology 1935-1975 (Berkeley, 1977), pp. 273-320
Seeger
Versions and Variants of the Tunes of "barbara Allen'
273
Studies in Musicology 1935-1975
1977
46
Sander's translation in "Rondellus," p. 171.
Sander
171
Rondellus
47
Otto Ursprung, "Spanish-Katalanische Liedkunst des 14. Jahrhunderts," Zeitschrift für Musikwissenschaft IV (1921-22), 153.
Ursprung
153
IV
Zeitschrift Für Musikwissenschaft
1921
48
Sanders, "Sumer is icumen in," p. 366-67
Sanders
366
Sumer is Icumen In
49
Ibid., p. 366.
366
50
F. Martin, "Giraldus as Historian," in Giraldus Cambrensis, Expugnatio Hibernica, ed. by A. Scott and F. Martin (Dublin, 1978),p. 283
Martin
Giraldus as Historian
283
Giraldus Cambrensis, Expugnatio Hibernica
1978
p. 300, n. 70
51
Andrew Hughes, "Mensural Polyphony for Choir in 15th-Century England," Journal of the American Musicological Society XIX (1966), 352-6910.2307/830424
352
idem, "The Choir in 15th-Century English Music: Non-Mensural Poly- phony," Essays in Musicology in Honor of Dragan Plamenac (Pittsburgh, 1969), pp. 127-45
Hughes
The Choir in 15th-century English Music: Non-mensural Polyphony
127
Essays in Musicology in Honor of Dragan Plamenac
1969
A General History of Music, I, 484
484
I
A General History of Music
52
Sanders, "Sumer is icumen in," p. 366.
Sanders
366
Sumer is Icumen In
53
Jack Westrup (An Introduction to Musical History [London, 1955], p. 62)
Westrup
62
An Introduction to Musical History
1955
Richard Crocker, "Discant, Counterpoint, Harmony," Journal of the American Musicological Society XV (1962), 1-2110.2307/830051
1
William Dalglish, "The Use of Variation in Early Polyphony," Musica Disciplina XXVI (1972), p. 38
Dalglish
38
XXVI
Musica Disciplina
1972
54
Walter Wiora's seminal work Europäische Volksmusik und abendländische Tonkunst (Kassel, 1957)
Wiora
Europäische Volksmusik Und Abendländische Tonkunst
1957
idem, "Schrift und Tradition als Quellen der Musikgeschichte." Kongress-Bericht (Bamberg, 1953), Gesellschaft für Musikforschung (Kassel, 1954). pp. 159-75
Wiora
Schrift Und Tradition Als Quellen Der Musikgeschichte
159
Kongress-bericht (bamberg, 1953), Gesellschaft Für Musikforschung
1954
Higino Anglés. "Die Bedeutung des Volkslied für die Musikgeschichte Europas," op. cit., pp. 181-85
Anglés
Die Bedeutung Des Volkslied Für Die Musikgeschichte Europas
181
Kongress-bericht (bamberg, 1953), Gesellschaft Für Musikforschung
Apfel. "Volkskunst und Hochkunst in der Musik des Mittelalters," op. cit., pp. 81-95
Apfel
Volkskunst Und Hochkunst in Der Musik Des Mittelalters
81
Kongress-bericht (bamberg, 1953), Gesellschaft Fir Musikforschung
Paul Collaer. "Polyphonies de Tradition Populaire en Europe Mediterranéenne," Acta Musicol- ogica XXXII (1960), 51-6610.2307/931654
51
Marius Schneider, "Kaukasische Parallelen zur Mittelalterlichen Mehrstimmigkeit." Acta Musicologica XII (1940), 5210.2307/931953
52
idem.. "Ist die Vokale Mehrstimmigkeit eine Schöpfung der Altrassen?." Acta Musicologica XXIII (1955), 40
Schneider
40
XXIII
Acta Musicologica
1955
Walter Salmen, "Bemerkungen zur Mehrstimmigen Musizieren der Spielleute im Mittelalter." Revue Beige de Musicologie XI (1957). 17-26
Salmen
17
XI
Revue Beige De Musicologie
1957
Curt Sachs. "Primitive and Medieval Music: A Parallel." Journal of the American Musicological Society XIII (1960), 4310.2307/830245
43
Symposium, "Transmission and Form in Oral Tra- ditions," Congress-Report of the International Musicological Society. Berkeley, 1977 (Kassel, 1981). pp. 139-211
Symposium
Transmission and Form in Oral Traditions
139
Congress-report of the International Musicological Society. Berkeley, 1977
1981
55
"The Summer Canon and its Background II," Musica Disciplina V (1951), 104
104
V
Musica Disciplina
1951
Harrison ("Rota and Rondellus in English Medieval Music," Proceedings of the Royal Musical Association LXXXVI [1959-60], 104)10.2307/766021
104
Sanders ("Sumer is icumen in," p. 366)
Sanders
366
Sumer is Icumen In
"Rota and rondellus," p. 104
104
Rota and Rondellus
56
"The Summer Canon and its Background I," Musica Disciplina I (1949), 78.
78
I
Musica Disciplina
1949
57
"The Contribution of Ethnomusicology to Historical Musicology, A Symposium," International Musicological Society: Report of the 8th Congress, New York, 1961 (Kassel, 1962), pp. 153-57
The Contribution of Ethnomusicology to Historical Musicology, a Symposium
153
International Musicological Society: Report of the 8th Congress, New York, 1961
1962
Gilbert Chase, "Musicology, History and Anthropology: Current Thoughts," in John Grubbs (ed.), Current Thought in Musicology (Austin, 1976), pp. 231-46
Chase
Musicology, History and Anthropology: Current Thoughts
231
Current Thought in Musicology
1976
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