Zazulia, Emily - Where Sight Meets Sound

Late-medieval composers delighted in complicating the relationship between their music's written and sung forms, often tasking singers with reading their music in unusual ways-from slowing down a melodic line, to turning it backwards or upside down, even omitting certain notes or rests. These manipulations increasingly yielded music that was aurally all but unrecognizable as a derivative of the notated original. This book uses these unorthodox applications of notation to understand how late-medieval composers thought about the tool of musical notation. It argues that these compositions foreground notation in ways that resonate with discourses about media and technology today.

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CONTENTS

List of Figures
List of Musical Examples
List of Tables
Abbreviations
Sigla of Manuscripts and Early Printed Music
Acknowledgments
Introduction Metaphors of Music Writing
Chapter 1: Shrinking Songs: Condensing Motet Tenors
Chapter 2: Before There Was Rhythm
Chapter 3: The Danger of False Exceptionalism
Chapter 4: Signs and Metasigns
Chapter 5: The Same, but Different
Chapter 6: Small Songs Made Big
Chapter 7: The Aesthetics of Transformation
Conclusion
Appendix 1 1 Kings 6, New King James Version (NKJV)
Appendix 2 Masses with Notationally Fixed Tenors
Bibliography
Index

Series	AMS Studies in Music