Music as Concept and Practice in the Late Middle Ages published by OUP

The book covers areas missing in other histories of medieval music such as Andalusian slave-girls, Bohemian brotherhoods, Minstrels' guilds, microtones, chant composers, Jewish philosophers, and cemetery dances
It is written by dedicated scholarly researchers each of whom has an established reputation in international musicology.

'Music as Concept and Practice in the Late Middle Ages' is an entirely new addition to the New Oxford History of Music series rather than a revision of the volume's predecessor published in 1960. It takes account not only of the developments in late-medieval music scholarship during the latter decades of the twentieth century, but also of the experience gained through significant changes in the performance practice of the late-medieval repertory witnessed during this period. All the chapters include areas of discussion whose coverage in the series hitherto has been either wholly lacking or, at best, marginal: Muslim and Jewish musical traditions of the Middle Ages, late-medieval office chant, medieval dance music, musical instruments in society, music in Central and Eastern Europe, music theory of the fourteenth and fifteenth centuries, music and early Renaissance humanism. The first chapter and the last three present the conceptualization of music in speculative theory, philosophy, compositional and didactic practice, and musical historiography. Four chapters, and part of the first, illustrate important musical repertories and genres as they were developed within diverse societies. The eight authors - all of them with a long-standing interest in their respective subjects - have created through their collaboration a blend of mature scholarship and original investigation. The volume's novelty of approach and content is complemented by a firm anchorage in the specialist literature and documentary source material. Today, no single view of 'the Middle Ages' can be acceptable to the musician or to the historian. The present volume, which addresses itself to both, provides solid information on formerly marginal themes, and advocates further exploration of the 'other' Middle Ages.

List of Illustrations
List of Musical Examples
Abbreviations
Introduction, Reinhard Strohm
I.: Muslim and Jewish Musical Traditions of the Middle Ages, Amnon Shiloah
Part I: Musical Cultures of Muslims in Spain
Part II: Jewish Musical Traditions in Spain, Provence and Southern
Italy
II.: Late Medieval Plainchant for the Divine Office, Andrew Hughes
III.: Instrumental Music, C.1300 - C.1520, Howard Mayer Brown and Keith Polk
Part I: Instrumentalists
Part II: Musical Sources and Performance
Part III: Instruments: Their Groupings and their Repertories
IV.: Dances and Dance Music, C.1300 - C.1530, Walter Salmen
V.: Polyphonic Music in Central Europe, C.1300 - C.1520, Tom R. Ward
VI.: Music Theory of the Fourteenth and Early Fifteenth Centuries, Jan Herlinger
VII.: Music Theory and Musical Thinking after 1450, Bonnie J. Blackburn
VIII.: Music, Humanism, and the Idea of a 'Rebirth' of the Arts, Reinhard Strohm
Bibliography
Index

Edited by Reinhard Strohm, Heather Professor of Music, University of Oxford, and Bonnie J. Blackburn, Faculty of Music, University of Oxford

Contributors:
Bonnie J. Blackburn
Howard Mayer Brown
Jan Herlinger
Andrew Hughes
Keith Polk
Walter Salmen
Amnon Shiloah
Reinhard Strohm
Tom R. Ward