Hughes Anselm. Early Medieval Music up to 1300

London - New York - Toronto: Oxford University Press, 1954. — V. II. 434 p. — (New Oxford History of Music.)The present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905.General introduction
Introduction to volume ii
Early Christian Music. By Egon Wellesz, Reader in Byzantine Music, University of Oxford
Early Christian Chant
Antiphonal Singing
The Syrian Church
The Forms of Syriac Poetry
Syrian Ecphonetic Notation
Music of the eastern churches. By Egon Wellesz
the Development of the Orthodox Church
The Poetical Forms of Byzantine Hymnography
Troparion
Kontakion
Kanon
Minor Hymnography
The Acclamations
Byzantine Musical Notation
The Structure of Byzantine Melodies
Coptic Music
Ethiopian Music
Armenian Music
Russian Chant. By Alfred J. Swan, professor of Music, Swarthmore and Haverford College, Pennsylvania
Early History
Development and Decline
Manner of Performance
Latin Chant before St. Gregory. By Monsigaore Higini angles, director of the Pontificio Istituto di Musica
Sacra, Rome
Earliest Traces
Ambrosian Chant
Origins
Sources
Modern Restoration
Musical Forms
Characteristics
Galilean Chant
Historical Importance
Sources
Chants of the Mass
Chants of the Office
Suppression of the Liturgy
Mozarabic Chant
The Visigothic Period
Sources
Notation
Musical Forms of the Liturgy
Character of the Original Music
Abolition of the Liturgy
Gregorian chant. By Higini Angles
Musical Value and Principal Features
Formation of Roman Liturgical Chant
Perfection of Gregorian Chant
Diffusion and Decay
Modern Restoration
Sources and Notation
Melodic Types and Tonality
Musical Forms
Trope, Sequence, and Conductus. By Jacques Handschin, Professor of Musicology, University of Basle
Terminology
Origins
Prototypes in Ambrosian Chant
Prototypes at Nonantola
Gallican Prototypes
Roman Prototypes
General Historical Situation (c. 800)
Adaptation of Texts
Historical Position of the Trope and Sequence
Early Sources
An Example of the Sequence
Music and Text
Changes of Style
Tropes of the First Period
Tropes of the Second Period
The Conductus
Liturgical Drama. By W. L. Smoldon
General History
The Easter Sepulchre Drama
First Stage
Second Stage
Third Stage
Peregrinus Plays
Passion Plays
Christmas Plays
Sundry Religious Plays
The Daniel Plays
Medieval Song. By J. A. Westrup, professor of Music, University of Oxford
Latin Secular Songs
Chansons de Geste
Troubadours and Trouveres
Background
Notation and Performance
Tonality
Structure
Songs with Refrains
Lais
English Songs
Minnesinger
Notation and Structure
Influences
Melodic Formulas
Spanish Monody
Laudi Spirituali
The Birth of Polyphony. By Dom Anselm Hughes
Earliest References
Processes of Reconstruction
Theories about the Origin of Harmony
First Written Records
Guido's Micrologus
Early Examples of Polyphony
Cotton and the Ambrosiana Treatise
Music in the Twelfth Century. By Dom Anselm Hughes
New Conditions
Sources of the Period
The Calixtine Manuscript
Notation and the Staff
Types of Hexachord
The Notation of Time
The Relationship between the Voices
Cadences
The Range of the Voices
Three-Part Writing
*Ut tuo propitiatus
The Eleventh Fascicle of the St. Andrews Manuscript
Music in Fixed Rhythm. By Dom Anselm Hughes
Preliminary Remarks on Dates and Dating
Sources of the Period
The General Picture
Conductus and Organum
The Rhythmic Modes
The Conductus
Dance Music
The Relationship of the Individual Voices
Early English Part-Songs
Organum
Clausulae
The motet and allied forms. By Dom Anselm Hughes
General Characteristics
Sources of the Period
The Original Structure of the Motet
Tenor Themes
'Manere'
Notation
Musica Ficta
Vernacular Texts
Interchange and Imitation
Later Ars Aantlqua
Mensural Notation
Technical Developments
Harmony
Isorhythm
English Motets for Four Voices
Hocket
Duple Time
' Sumer is icumen in*
Bibliography
Index