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This is the first book about melismas, or long melodies sung to a single vowel. Using the evidence of medieval creative minds, Thomas Forrest Kelly uncovers the melisma as a phenomenon, how it works, how melismas appear when they are written in chant, and how they function as part of a text and as part of a song.
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This is the first book about melismas, or long melodies sung to a single vowel. Using the evidence of medieval creative minds, Thomas Forrest Kelly uncovers the melisma as a phenomenon, how it works, how melismas appear when they are written in chant, and how they function as part of a text and as part of a song.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press
- Seitenzahl: 300
- Erscheinungstermin: 13. Mai 2025
- Englisch
- Abmessung: 244mm x 180mm x 28mm
- Gewicht: 703g
- ISBN-13: 9780197763483
- ISBN-10: 0197763480
- Artikelnr.: 73658856
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Oxford University Press
- Seitenzahl: 300
- Erscheinungstermin: 13. Mai 2025
- Englisch
- Abmessung: 244mm x 180mm x 28mm
- Gewicht: 703g
- ISBN-13: 9780197763483
- ISBN-10: 0197763480
- Artikelnr.: 73658856
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
Thomas Forrest Kelly is Morton B. Knafel Professor of Music, Emeritus at Harvard University, where he taught until his retirement; he previously taught at Oberlin College, the Five Colleges, and Wellesley College. His published work includes several volumes for general audiences and more specialized studies on aspects of medieval music. He was the founding director of the Castle Hill Festival and served as President of Early Music America, for whose magazine he has written a quarterly column for twenty years. He holds an honorary doctorate from the University of North Carolina and is a Fellow of the American Academy in Rome, the American Academy of Arts and Sciences, and the Medieval Academy of America. He is also a Chevalier of the Ordre des Arts et Lettres of the French Republic, and an honorary citizen of the city of Benevento.
Preface
Abbreviations
Chapter 1. Songs without words
Jubilare sine verbis
How do you sing a melisma? Stylistic considerations
How do you write a melisma?
The shape and effect of melismas
Musical nature of melismas
Chapter 2. Some historical considerations
The earliest notations of melismas
Medieval words for melismas
Medieval descriptions of melismas and their usage
Chapter 3. Melismas within chants of the mass
Tracts
Graduals
Alleluia
Offertories and their verses
Benedictiones
Ite missa est, Benedicamus domino
Appendix A. Opening Melismas in Offertories
Chapter 4. Melismas, mostly added, and mostly In the Divine Office
Caudae for antiphons
Melismas for responsories
Borrowed melismas
Composed melismas
Modal melismas
Melismas in antiphons
Later medieval adjustments to melismas
Appendix B: Added responsory-melismas borrowed from offertories
Chapter 5. Melismas added to chants in the Mass
Introits
Sequentiae
Appendix C: Melismas in Aquitanian graduals and tropers
Chapter 6. Melismas in the Ordinary of the Mass
Kyrieleison
Gloria in excelsis
Sanctus: Osanna melismas
Chapter 7. Melismas with words: prosula
Introduction
Genres
Offertory
Alleluia
Fabrice mundi (neuma triplex)
Ordinary of the mass
Style and Performance
Chapter 8. Melismas with words: prosa
Text and music
Specific melodiae and prosas
Sequence, prosula, and notation
Chapter 9. Conclusions, Details, Examples
Music and language
Detailed examinations of melismas and their subdivisions
Conclusions
Bibliography
Credits and Permissions
Index of manuscripts
Index of chant incipits
General index
Abbreviations
Chapter 1. Songs without words
Jubilare sine verbis
How do you sing a melisma? Stylistic considerations
How do you write a melisma?
The shape and effect of melismas
Musical nature of melismas
Chapter 2. Some historical considerations
The earliest notations of melismas
Medieval words for melismas
Medieval descriptions of melismas and their usage
Chapter 3. Melismas within chants of the mass
Tracts
Graduals
Alleluia
Offertories and their verses
Benedictiones
Ite missa est, Benedicamus domino
Appendix A. Opening Melismas in Offertories
Chapter 4. Melismas, mostly added, and mostly In the Divine Office
Caudae for antiphons
Melismas for responsories
Borrowed melismas
Composed melismas
Modal melismas
Melismas in antiphons
Later medieval adjustments to melismas
Appendix B: Added responsory-melismas borrowed from offertories
Chapter 5. Melismas added to chants in the Mass
Introits
Sequentiae
Appendix C: Melismas in Aquitanian graduals and tropers
Chapter 6. Melismas in the Ordinary of the Mass
Kyrieleison
Gloria in excelsis
Sanctus: Osanna melismas
Chapter 7. Melismas with words: prosula
Introduction
Genres
Offertory
Alleluia
Fabrice mundi (neuma triplex)
Ordinary of the mass
Style and Performance
Chapter 8. Melismas with words: prosa
Text and music
Specific melodiae and prosas
Sequence, prosula, and notation
Chapter 9. Conclusions, Details, Examples
Music and language
Detailed examinations of melismas and their subdivisions
Conclusions
Bibliography
Credits and Permissions
Index of manuscripts
Index of chant incipits
General index
Preface
Abbreviations
Chapter 1. Songs without words
Jubilare sine verbis
How do you sing a melisma? Stylistic considerations
How do you write a melisma?
The shape and effect of melismas
Musical nature of melismas
Chapter 2. Some historical considerations
The earliest notations of melismas
Medieval words for melismas
Medieval descriptions of melismas and their usage
Chapter 3. Melismas within chants of the mass
Tracts
Graduals
Alleluia
Offertories and their verses
Benedictiones
Ite missa est, Benedicamus domino
Appendix A. Opening Melismas in Offertories
Chapter 4. Melismas, mostly added, and mostly In the Divine Office
Caudae for antiphons
Melismas for responsories
Borrowed melismas
Composed melismas
Modal melismas
Melismas in antiphons
Later medieval adjustments to melismas
Appendix B: Added responsory-melismas borrowed from offertories
Chapter 5. Melismas added to chants in the Mass
Introits
Sequentiae
Appendix C: Melismas in Aquitanian graduals and tropers
Chapter 6. Melismas in the Ordinary of the Mass
Kyrieleison
Gloria in excelsis
Sanctus: Osanna melismas
Chapter 7. Melismas with words: prosula
Introduction
Genres
Offertory
Alleluia
Fabrice mundi (neuma triplex)
Ordinary of the mass
Style and Performance
Chapter 8. Melismas with words: prosa
Text and music
Specific melodiae and prosas
Sequence, prosula, and notation
Chapter 9. Conclusions, Details, Examples
Music and language
Detailed examinations of melismas and their subdivisions
Conclusions
Bibliography
Credits and Permissions
Index of manuscripts
Index of chant incipits
General index
Abbreviations
Chapter 1. Songs without words
Jubilare sine verbis
How do you sing a melisma? Stylistic considerations
How do you write a melisma?
The shape and effect of melismas
Musical nature of melismas
Chapter 2. Some historical considerations
The earliest notations of melismas
Medieval words for melismas
Medieval descriptions of melismas and their usage
Chapter 3. Melismas within chants of the mass
Tracts
Graduals
Alleluia
Offertories and their verses
Benedictiones
Ite missa est, Benedicamus domino
Appendix A. Opening Melismas in Offertories
Chapter 4. Melismas, mostly added, and mostly In the Divine Office
Caudae for antiphons
Melismas for responsories
Borrowed melismas
Composed melismas
Modal melismas
Melismas in antiphons
Later medieval adjustments to melismas
Appendix B: Added responsory-melismas borrowed from offertories
Chapter 5. Melismas added to chants in the Mass
Introits
Sequentiae
Appendix C: Melismas in Aquitanian graduals and tropers
Chapter 6. Melismas in the Ordinary of the Mass
Kyrieleison
Gloria in excelsis
Sanctus: Osanna melismas
Chapter 7. Melismas with words: prosula
Introduction
Genres
Offertory
Alleluia
Fabrice mundi (neuma triplex)
Ordinary of the mass
Style and Performance
Chapter 8. Melismas with words: prosa
Text and music
Specific melodiae and prosas
Sequence, prosula, and notation
Chapter 9. Conclusions, Details, Examples
Music and language
Detailed examinations of melismas and their subdivisions
Conclusions
Bibliography
Credits and Permissions
Index of manuscripts
Index of chant incipits
General index







