Grammar in the medieval song-school

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The publisher Brepols has kindly granted me a pdf offprint of my 2009 article on grammar and music in the Middle Ages: Elizabeth Eva Leach, “Grammar in the Medieval Song-School”, New Medieval Literatures, 9 (2009), 195-211; doi 10.1484.J.NML .1.100590

Carmina Cantabrigiensia Manuscript C, folio 436v, 11th century (Cambridge University Library, Gg. 5. 35)

I can’t post the pdf directly here (see earlier blogpost on why not), so this post is just a little about the text plus its bibliography.

The article basically re-packages elements of my first monograph, Sung Birds, especially sections on vox from chapters 1-2, which discuss the relation of grammatical teaching (especially Donatus and Priscian) to music theory (especially that of Guido of Arezzo). The chapter then considers the song Aurea personet lyra, a lyricization of the voces animantium set to music in the earlier Cambridge Songbook as an example of practical musical isntruction in the correct relation between musical vox, grammar, and being a rational human.

Chapter bibliography

  • Adcock, Fleur, The Virgin and the Nightingale (Newcastle upon Tyne: Bloodaxe, 1983).
  • Amalarius of Metz, ‘Liber officialis’, in Jean-Michel Hanssens (ed.), Amalarii episcopi opera liturgica omnia  (Vatican City: Biblioteca Apostolica Vaticana, 1948), 25-565.
  • Aristotle, De Anima (On the Soul), trans. Hugh Lawson-Tancred (London: Penguin, 1986).
  • Augustine, Saint, ‘On Music’, trans. Robert Catesby Taliaferro, in Robert Catesby Taliaferro (ed.), Writings of Saint Augustine, Volume 2 (Washington, D.C.: Catholic University of America Press in association with Consortium Books, 1977), 151-379.
  • Aurelius Augustinus, De musica, Bücher I und VI: Vom ästhetischen Urteil zur metaphysischen Erkenntnis, trans. Frank Hentschel (Hamburg: Felix Meiner, 2002).
  • Ax, Wolfram, Laut, Sinne und Sprache: Studien zu 3 Grundbegriffen der antiken Sprachtheorie, eds Albrecht Dihle, et al. (Göttingen: Vandenhoeck and Ruprecht, 1986).
  • Berger, Karol, ‘The Hand and the Art of Memory’, Musica Disciplina, 35 (1981), 87-120.
  • Bernhard, Michael, ‘La summa musice du Ps.-Jean de Murs: Son auteur et sa datation’, Revue de musicologie, 84/1 (1998), 19-25.
  • ———, ‘Parallelüberliefungen zu vier Cambridger Liedern’, in Günter Bernt, Fidel Rädle, and Gabriel Silagi (eds.), Tradition und Wertung: Festschrift für Franz Brunhölzl zum 65. Gerburtstag (Sigmaringen: Jan Thorbecke, 1989), 141-5.
  • Botterill, Steven (ed.), Dante: De Vulgari Eloquentia, ed. Peter Dronke (Cambridge: Cambridge University Press, 1996).
  • Bower, Calvin M., ‘Sonus, vox, chorda, nota: Thing, Name, and Sign in Early Medieval Theory’, in Michael Bernhard (ed.), Quellen und Studien zur Musiktheorie des Mittelalters, 3 (Munich: Bayerischen Akademie der Wissenschaften and C. H. Beck, 2001), 47-61.
  • Bragard, Roger (ed.), Jacques de Liège’s Speculum Musicae 7 vols. (Rome: American Institute of Musicology, 1955-73).
  • Caldwell, John, The Oxford History of English Music, 2 vols. (Oxford: Clarendon Press, 1991).
  • Crocker, Richard, ‘Alphabet Notations for Early Medieval Music’, in Charles Williams Jones, Margot H. King, and Wesley M. Stevens (eds.), Saints, Scholars, and Heroes: Studies in Medieval Culture in Honor of Charles W. Jones, 2 (Collegeville, Minn: Hill Monastic Manuscript Library Saint John’s Abbey and University, 1979), 79-104.
  • Desmond, Karen, ‘Sicut in grammatica: Analogical Discourse in Chapter 15 of Guido’s Micrologus’, Journal of Musicology, 16/4 (1998), 467-93.
  • Gushee, Lawrence, ‘Questions of Genre in Medieval Treatises on Music’, in Wulf Arlt, Ernst Lichtenhahn, and Hans Oesch (eds.), Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade (Bern: Francke, 1973), 365-433.
  • Herlinger, Jan W. (ed.), The Lucidarium of Marchetto of Padua: A Critical Edition, Translation, and Commentary (Chicago and London: University of Chicago Press, 1985).
  • Holsinger, Bruce W., Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer (Stanford, CA: Stanford University Press, 2001).
  • Hucke, Helmut, ‘Toward a New Historical View of Gregorian Chant’, Journal of the American Musicological Society, 33/3 (1980), 437-67.
  • Hughes, David G., ‘Evidence for the Traditional View of the Transmission of Gregorian Chant’, Journal of the American Musicological Society, 40/3 (1987), 377-404.
  • Huglo, Michel, ‘Deux séquences de musique instrumentale’, Revue de Musicologie, 76/1 (1990), 77-82.
  • Irvine, Martin, The Making of Textual Culture; ‘Grammatica’ and Literary Theory, 350-1100 (Cambridge: Cambridge University Press, 1994).
  • Keil, H. (ed.), Grammatici Latini 8 vols. (Leipzig: Teubner, 1855-80).
  • Klopsch, Paul, ‘Carmen de Philomela’, in Alf Önnerfors, Johannes Rathofer, and Fritz Wagner (eds.), Literatur und Sprache im europäischen Mittelalter: Festschrift für Karl Langosch zum 70. Geburtstag (Darmstadt: Wissenschaftliche Buchgesellschaft, 1973), 173-94.
  • Law, Vivien, Grammar and Grammarians in the Early Middle Ages (London and New York, 1997).
  • ———, The Insular Grammarians (Woodbridge: Boydell and Brewer, 1982).
  • Leach, Elizabeth Eva, Sung Birds: Music, Nature, and Poetry in the Later Middle Ages (Ithaca: Cornell University Press, 2007).
  • Levy, Kenneth, Gregorian Chant and the Carolingians (Princeton, NJ: Princeton University Press, 1998).
  • Lindsay, W. M. (ed.), Isidori Hispalensis episcopi Etymologiarum sive originum libri XX 2 vols. (Oxford: Clarendon Press, 1911).
  • MacCulloch, F., Medieval Latin and French Bestiaries (Chapel Hill, NC: The University of North Carolina Press, 1960).
  • Marcovich, Miroslav, ‘Voces animantium and Suetonius’, Živa Antika / Antiquité vivante, 21 (1971), 399-416.
  • Mariotti, Italo (ed.), Marii Victorini Ars grammatica: Introduzione, testo critico e commento (Florence: F. Le Monnier, 1967).
  • McKinnon, James (ed.), The Early Christian Period and the Latin Middle Ages (New York and London: W. W. Norton, 1998).
  • Page, Christopher (ed.), The Summa Musice: A Thirteenth-Century Manual for Singers (Cambridge: Cambridge University Press, 1991).
  • Pesce, Dolores (ed.), Guido D’Arezzo’s Regulae Rithmice, Prologus in Antiphonarium, and Epistola ad Michahelem: A Critical Text and Translation (Ottawa: Institute of Mediaeval Music, 1999).
  • Robert-Tissot, Michel (ed.), Johannes Aegidius de Zamora: Ars Musica (np: American Institute of Musicology, 1974).
  • Santosuosso, Alma Colk, Letter Notations in the Middle Ages (Ottawa: Institute of Mediaeval Music, 1989).
  • Stevens, John, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350 (Cambridge: Cambridge University Press, 1986).
  • Sullivan, Blair, ‘Alphabetic Writing and Hucbald’s Artificiales notae’, in Michael Bernhard (ed.), Quellen und Studien zur Musiktheorie des Mittelalters, 3 (Munich: Bayerischen Akademie der Wissenschaften and C. H. Beck, 2001), 64-80.
  • ———, ‘The Unwritable Sound of Music: The Origins and Implications of Isidore’s Memorial Metaphor’, Viator, 30 (1999), 1-13.
  • Treitler, Leo, With Voice and Pen: Coming to Know Medieval Song and How it was Made (New York: Oxford University Press, 2003).
  • Yapp, Brundson, ‘Birds in Captivity in the Middle Ages’, Archives of Natural History, 10 (1981), 479-500.
  • Ziolkowski, Jan M. (ed.), The Cambridge Songs (Carmina Cantabrigiensia) (Tempe, Arizona: Medieval and Renaissance Texts and Studies, 1998).

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