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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. Invention Of The Voices-and-instruments Hypothesis -- Re-invention Of The A Cappella Hypothesis -- Hearing Medieval Harmonies -- Evidence, Interpretation, Power And Persuasion. Daniel Leech-wilkinson. Includes Bibliographical Refer

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Author

Leech-Wilkinson, Daniel

Publisher

The Cambridge University Press

Published

2002

Language

EN

ISBN

9780521818704

Category

music

Subjects

Music, Arts

Rating

5 / 5 (1 ratings)

Updated

2026-03-14