TY - BOOK ID - 77864598 TI - Medieval music and the art of memory PY - 2005 SN - 9786612357312 0520930649 128235731X 1423731344 1598758039 9780520930643 9781423731344 9780520240285 0520240286 9781598758030 PB - Berkeley University of California Press DB - UniCat KW - Memory. KW - Composition (Music) KW - Music KW - Retention (Psychology) KW - Intellect KW - Psychology KW - Thought and thinking KW - Comprehension KW - Executive functions (Neuropsychology) KW - Mnemonics KW - Perseveration (Psychology) KW - Reproduction (Psychology) KW - Composing (Music) KW - Music composing KW - Music composition KW - Musical composition KW - Concertante style KW - History. KW - History and criticism. KW - Composition KW - antiphons. KW - art. KW - carolingian modes. KW - chant. KW - composers. KW - composition. KW - discant. KW - harmony. KW - improvisation. KW - intervals. KW - intonations. KW - isorhythmic motets. KW - literacy. KW - medieval history. KW - medieval music. KW - melismas. KW - memorization. KW - memory. KW - music history. KW - music theory. KW - music. KW - musicology. KW - nonfiction. KW - note progression. KW - notre dame polyphony. KW - oral composition. KW - oral transmission. KW - orality. KW - organum. KW - performing arts. KW - polyphonic music. KW - polyphony. KW - psalm tones. KW - pseudo chilston. KW - religious music. KW - rhythm. KW - tonaries. KW - transmission. KW - visualization. UR - https://www.unicat.be/uniCat?func=search&query=sysid:77864598 AB - This bold challenge to conventional notions about medieval music disputes the assumption of pure literacy and replaces it with a more complex picture of a world in which literacy and orality interacted. Asking such fundamental questions as how singers managed to memorize such an enormous amount of music and how music composed in the mind rather than in writing affected musical style, Anna Maria Busse Berger explores the impact of the art of memory on the composition and transmission of medieval music. Her fresh, innovative study shows that although writing allowed composers to work out pieces in the mind, it did not make memorization redundant but allowed for new ways to commit material to memory. Since some of the polyphonic music from the twelfth century and later was written down, scholars have long assumed that it was all composed and transmitted in written form. Our understanding of medieval music has been profoundly shaped by German philologists from the beginning of the last century who approached medieval music as if it were no different from music of the nineteenth century. But Medieval Music and the Art of Memory deftly demonstrates that the fact that a piece was written down does not necessarily mean that it was conceived and transmitted in writing. Busse Berger's new model, one that emphasizes the interplay of literate and oral composition and transmission, deepens and enriches current understandings of medieval music and opens the field for fresh interpretations. ER -