The organ in western culture, 750-1250
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Publication
1993 - Cambridge University Press, Cambridge [England], England
Language
English
Word Count
99,250 words, Guess
Page Count
397 pages
Identifiers
- Open LibraryOL1716727M
- ISBN-100521418437
- OCLC Control Number26055021
- OCLC Control Numberorganinwesterncu0000will
- Library of Congress Control Number92019196
and 1 more
- Goodreads4066581
Classifications
- DDC786.5/19/09
- LCCML553 .W54 1993
Description
How did the organ become a church instrument? How did it develop from an outdoor, Mediterranean noisemaker to an instrument which has become the embodiment of western music and responsible for many of that music's characteristics? In this fascinating, investigation, Peter Williams speculates on these questions and suggests some likely answers. He considers where the organ was placed and why; what the instrument was like in 800, 1000, 1200 and 1400; what music was played, and how. He re-examines known references before 1300, covering such areas as the history of technology; music-theory art history; architecture, church and political history. Central to the story he uncovers is the liveliness of European monasticism around 1000 and the ability and imagination of the Benedictine reformers. Professor Williams's approach is new in both tactics and strategy, giving an interdisciplinary idea of musical development relevant to those both in and out of music
Description
How did the organ become a church instrument? How did it develop from an outdoor, Mediterranean noisemaker to an instrument which has become the embodiment of western music and responsible for many of that music's characteristics? In this fascinating, investigation, Peter Williams speculates on these questions and suggests some likely answers. He considers where the organ was placed and why; what the instrument was like in 800, 1000, 1200 and 1400; what music was played, and how. He re-examines known references before 1300, covering such areas as the history of technology; music-theory art history; architecture, church and political history. Central to the story he uncovers is the liveliness of European monasticism around 1000 and the ability and imagination of the Benedictine reformers. Professor Williams's approach is new in both tactics and strategy, giving an interdisciplinary idea of musical development relevant to those both in and out of music
Subjects
Topics
Times
Series Statement
- Cambridge studies in medieval and Renaissance music
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