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104-415: The methods of music history include source studies (esp. manuscript studies), paleography , philology (especially textual criticism ), style criticism, historiography (the choice of historical method ), musical analysis , and iconography . The application of musical analysis to further these goals is often a part of music history, though pure analysis or the development of new tools of music analysis

208-473: A different kind of music...'classical music'...and they generally find popular music lacking" He cites three main aspects of this problem (p. 104–6). The terminology of historical musicology is "slanted by the needs and history of a particular music ('classical music')." He acknowledges that "there is a rich vocabulary for certain areas [harmony, tonality, certain part-writing and forms], important in musicology's typical corpus"; yet he points out that there

312-403: A case of violinists having to retune by a minor third to play at neighboring churches. The research of musicologists often overlaps with the work of art historians ; by examining paintings and drawings of performing musicians contemporary to a particular musical era, academics can infer details about performance practice of the day. In addition to showing the layout of an orchestra or ensemble,

416-443: A certain illusion of simplicity on what the passage of history has presented to us, bleached as white as bones on the sands of time ". Early music scholar Beverly Jerold has questioned the string technique of historically informed musicians, citing accounts of Baroque-era concert-goers describing nearly the opposite practice. Similar criticism has been leveled at the practices of historically informed vocalists. Some proponents of

520-568: A composer for whom archival materials can be examined online is the Arnold Schoenberg Center. Performance practice draws on many of the tools of historical musicology to answer the specific question of how music was performed in various places at various times in the past. Scholars investigate questions such as which instruments or voices were used to perform a given work, what tempos (or tempo changes) were used, and how (or if) ornaments were used. Although performance practice

624-425: A composer's intentions in their historical context, Ralph Kirkpatrick highlights the risk of using historical exoterism to hide technical incompetence: "too often historical authenticity can be used as a means of escape from any potentially disquieting observance of esthetic values, and from the assumption of any genuine artistic responsibility. The abdication of esthetic values and artistic responsibilities can confer

728-466: A distinctive long rectangular shape, were used dating back to the 5th century BCE or earlier, and in some cases continued to be used until the 19th century. In China, bamboo and wooden slips were used prior to the introduction of paper . In Russia, birch bark documents as old as from the 11th century have survived. Paper spread from China via the Islamic world to Europe by the 14th century, and by

832-641: A field of study. Concurrently the number of musicological and music journals increased to create further outlets for the publication of research. The domination of German language scholarship ebbed as significant journals sprang up throughout the West, especially America. In its most narrow definition, historical musicology is the music history of Western culture. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") – implying that

936-468: A historic sound often use modern reproductions of period instruments (and occasionally original instruments) on the basis that this will deliver a musical performance that is thought to be historically faithful to the original work, as the original composer would have heard it. For example, a modern music ensemble staging a performance of music by Johann Sebastian Bach may play reproduction Baroque violins instead of modern instruments in an attempt to create

1040-882: A key struggle within the discipline: how musicology has often "dismisse[d] questions of socio-musical interaction out of hand, that part of classical music's greatness is ascribed to its autonomy from society." (1988, p. 283) According to Richard Middleton , the strongest criticism of (historical) musicology has been that it generally ignores popular music. Though musicological study of popular music has vastly increased in quantity recently, Middleton's assertion in 1990—that most major "works of musicology, theoretical or historical, act as though popular music did not exist"—holds true. Academic and conservatory training typically only peripherally addresses this broad spectrum of musics, and many (historical) musicologists who are "both contemptuous and condescending are looking for types of production, musical form, and listening which they associate with

1144-744: A manuscript is called facsimile . Digital reproductions can be called (high-resolution) scans or digital images . Before the inventions of printing, in China by woodblock and in Europe by movable type in a printing press , all written documents had to be both produced and reproduced by hand. In the west, manuscripts were produced in form of scrolls ( volumen in Latin) or books ( codex , plural codices ). Manuscripts were produced on vellum and other parchment, on papyrus , and on paper. In Indian Subcontinent and Southeast Asia , palm leaf manuscripts , with

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1248-407: A manuscript, or script for short, is an author's or dramatist's text, used by a theatre company or film crew during the production of the work's performance or filming. More specifically, a motion picture manuscript is called a screenplay; a television manuscript, a teleplay; a manuscript for the theatre, a stage play; and a manuscript for audio-only performance is often called a radio play, even when

1352-464: A metal stylus. In the Philippines , for example, as early as 900 AD, specimen documents were not inscribed by stylus, but were punched much like the style of today's dot-matrix printers . This type of document was rare compared to the usual leaves and bamboo staves that were inscribed. However, neither the leaves nor paper were as durable as the metal document in the hot, humid climate. In Burma ,

1456-488: A strict categorization impossible. However, a few trends and approaches can be outlined here. Like in any other historical discipline, most research in music history can be roughly divided into two categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a combination of methods from both categories. The act of establishing factual data can never be fully separate from

1560-446: A substitute for castrato singers. Alfred Deller is considered to have been a pioneer of the modern revival of countertenor singing. Leading contemporary performers include James Bowman , Russell Oberlin , Paul Esswood , Derek Lee Ragin , Andreas Scholl , Michael Chance , René Jacobs , David Daniels , Daniel Taylor , Brian Asawa , Yoshikazu Mera , Jakub Józef Orliński , and Philippe Jaroussky . Standard practice concerning

1664-465: A two volume history of sacred music titled De cantu de musica sacra in 1774. Gerbert followed this work with a three volume work Scriptores ecclesiastici de musica sacra containing significant writings on sacred music from the 3rd century onwards in 1784. In the 20th century, the work of Johannes Wolf and others developed studies in Medieval music and early Renaissance music . Wolf's writings on

1768-421: A whole. Researchers emphasizing the social importance of music (including classical music) are sometimes called New musicologists . They may examine the intersection of music and music-making with issues such as race, class, gender, sexuality (e.g. LGBTQ ), and disability, among other approaches. Semiotic studies are most conventionally the province of music analysts rather than historians. However, crucial to

1872-405: A work of art may reveal detail about contemporary playing techniques, for example the manner of holding a bow or a wind player's embouchure . However, just as an art historian must evaluate a work of art, a scholar of musicology must also assess the musical evidence of a painting or illustration in its historical context, taking into consideration the potential cultural and political motivations of

1976-466: Is Digital Scriptorium , hosted by the University of California at Berkeley . Performance practice Historically informed performance (also referred to as period performance , authentic performance , or HIP ) is an approach to the performance of classical music which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It

2080-459: Is "an impoverished vocabulary for other areas [rhythm, pitch nuance and gradation, and timbre], which are less well developed" in Classical music. Middleton argues that a number of "terms are ideologically loaded" in that "they always involve selective, and often unconsciously formulated, conceptions of what music is ." As well, he claims that historical musicology uses "a methodology slanted by

2184-443: Is an important part of the principle of historically informed performance. Musical instruments have evolved over time, and instruments that were in use in earlier periods of history are often quite different from their modern equivalents. Many other instruments have fallen out of use, having been replaced by newer tools for creating music. For example, prior to the emergence of the modern violin , other bowed stringed instruments such as

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2288-436: Is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice ; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations,

2392-467: Is increasingly under investigation. Given no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts . Historical treatises , pedagogic tutor books, and concert critiques, as well as additional historical evidence, are all used to gain insight into the performance practice of a historic era. Extant recordings (cylinders, discs, and reproducing piano rolls) from

2496-542: Is more likely to be seen in the field of music theory . Some of the intellectual products of music historians include peer-reviewed articles in journals, university press-published music history books, university textbooks , new editions of musical works , biographies of composers and other musicians, studies of the relationship between words and music, and reflections upon the role of music in society. Although most performers of classical and traditional instruments receive some instruction in music history, whether this

2600-711: Is often used by modern academics, especially where the animal has not been established by testing. Merovingian script , or "Luxeuil minuscule", is named after an abbey in Western France, the Luxeuil Abbey , founded by the Irish missionary St Columba c.  590 . Caroline minuscule is a calligraphic script developed as a writing standard in Europe so that the Latin alphabet could be easily recognized by

2704-407: Is required can easily be forgotten, precisely because the exercise of musical invention is so automatic to the performer." Leech-Wilkinson concludes that performance styles in early music "have as much to do with current taste as with accurate reproduction." More recently, Andrew Snedden has suggested that HIP reconstructions are on firmer ground when approached in context with a cultural exegesis of

2808-471: Is the history of art music , pop , or rock and roll, etc. These from their music teachers throughout their lessons and high school classes, the majority of formal music history courses are offered at the post-secondary ( college or university) level. In Canada, some music students receive training prior to undergraduate studies because examinations in music history (as well as music theory) are required to complete Royal Conservatory of Music certification at

2912-1029: The Academy of Ancient Music ( Christopher Hogwood ), the Concentus Musicus Wien ( Nikolaus Harnoncourt ), The English Concert ( Trevor Pinnock ), the Hanover Band ( Roy Goodman ), the Orchestra of the Eighteenth Century ( Frans Brüggen ), the English Baroque Soloists (Sir John Eliot Gardiner ), Musica Antiqua Köln ( Reinhard Goebel ), Amsterdam Baroque Orchestra & Choir ( Ton Koopman ), Les Arts Florissants ( William Christie ), Le Concert des Nations ( Jordi Savall ), La Petite Bande ( Sigiswald Kuijken ), La Chapelle Royale ( Philippe Herreweghe ), Concert de la Loge Olympique ( Julien Chauvin ,

3016-768: The Australian Brandenburg Orchestra ( Paul Dyer ), and the Freiburger Barockorchester ( Gottfried von der Goltz ). As the scope of historically informed performance has expanded to encompass the works of the Romantic era , the specific sound of 19th-century instruments has increasingly been recognised in the HIP movement, and period instruments orchestras such as Gardiner's Orchestre Révolutionnaire et Romantique have emerged. A variety of once obsolete keyboard instruments such as

3120-667: The Dead Sea scrolls make no such differentiation. Manuscripts using all upper case letters are called majuscule , those using all lower case are called minuscule . Usually, the majuscule scripts such as uncial are written with much more care. The scribe lifted his pen between each stroke, producing an unmistakable effect of regularity and formality. On the other hand, while minuscule scripts can be written with pen-lift, they may also be cursive , that is, use little or no pen-lift. Islamic manuscripts were produced in different ways depending on their use and time period. Parchment (vellum)

3224-492: The Grade 9 level and higher. Most medium and large institutions will offer music appreciation courses for non-music majors and music history courses for music majors. The two types of courses will usually differ in length (one to two semesters vs. two to four), breadth (many music appreciation courses begin at the late Baroque or classical eras and might omit music after WWII while courses for music majors traditionally span

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3328-402: The Latin : manūscriptum (from manus , hand and scriptum from scribere , to write ). The study of the writing (the "hand") in surviving manuscripts is termed palaeography (or paleography). The traditional abbreviations are MS for manuscript and MSS for manuscripts, while the forms MS. , ms or ms. for singular, and MSS. , mss or mss. for plural (with or without

3432-539: The University of Timbuktu in Mali . Major U.S. repositories of medieval manuscripts include: Many European libraries have far larger collections. Because they are books, pre-modern manuscripts are best described using bibliographic rather than archival standards. The standard endorsed by the American Library Association is known as AMREMM. A growing digital catalog of pre-modern manuscripts

3536-465: The clavichord and the harpsichord have been revived, as they have particular importance in the performance of Early music. Before the evolution of the symphony orchestra led by a conductor , Renaissance and Baroque orchestras were commonly directed from the harpsichord; the director would lead by playing continuo , which would provide a steady, harmonic structure upon which the other instrumentalists would embellish their parts. Many religious works of

3640-482: The flute in the 19th century, the recorder has experienced a revival with the HIP movement. Arnold Dolmetsch did much to revive the recorder as a serious concert instrument, reconstructing a "consort of recorders (descant, treble, tenor and bass) all at low pitch and based on historical originals". Handel and Telemann, both noted recorder players, wrote several solo pieces for the instrument. Often, recorder players start off as flautists, then transition into focusing on

3744-774: The middens of Oxyrhynchus or secreted for safe-keeping in jars and buried ( Nag Hammadi library ) or stored in dry caves ( Dead Sea scrolls ). Volcanic ash preserved some of the Roman library of the Villa of the Papyri in Herculaneum . Manuscripts in Tocharian languages , written on palm leaves, survived in desert burials in the Tarim Basin of Central Asia. Ironically, the manuscripts that were being most carefully preserved in

3848-419: The rebec or the viol were in common use. The existence of ancient instruments in museum collections has helped musicologists to understand how the different design, tuning and tone of instruments may have affected earlier performance practice. As well as a research tool, historic instruments have an active role in the practice of historically informed performance. Modern instrumentalists who aim to recreate

3952-495: The "notation-centric training" of Western music schools "induces particular forms of listening , and these then tend to be applied to all sorts of music, appropriately or not". As a result, Western music students trained in historical musicology may listen to a funk or Latin song that is very rhythmically complex, but then dismiss it as a low-level musical work because it has a very simple melody and only uses two or five chords. Notational centricity also encourages "reification:

4056-519: The 1890s onwards have enabled scholars of 19th-century Romanticism to gain a uniquely detailed understanding of this style, although not without significant remaining questions. In all eras, HIP performers will normally use original sources (manuscript or facsimile), or scholarly or urtext editions of a musical score as a basic template, while additionally applying a range of contemporaneous stylistic practices, including rhythmic alterations and ornamentation of many kinds. Historically informed performance

4160-462: The 20th and 21st centuries, and has begun to affect the theatrical stage, for instance in the production of Baroque opera , where historically informed approaches to acting and scenery are also used. Some critics contest the methodology of the HIP movement, contending that its selection of practices and aesthetics are a product of the 20th century and that it is ultimately impossible to know what performances of an earlier time sounded like. Obviously,

4264-475: The Bible came scores of commentaries. Commentaries were written in volumes, with some focusing on just single pages of scripture. Across Europe, there were universities that prided themselves on their biblical knowledge. Along with universities, certain cities also had their own celebrities of biblical knowledge during the medieval period. A book of hours is a type of devotional text which was widely popular during

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4368-718: The Carolingian script, giving it proportion and legibility. This new revision of the Caroline minuscule was called English Protogothic Bookhand. Another script that is derived from the Caroline Minuscule was the German Protogothic Bookhand. It originated in southern Germany during the second half of the 12th century. All the individual letters are Caroline; but just as with English Protogothic Bookhand it evolved. This can be seen most notably in

4472-455: The Early music revival have distanced themselves from the terminology of "authentic performance". Conductor John Eliot Gardiner has expressed the view that the term can be "misleading", and has stated, "My enthusiasm for period instruments is not antiquarian or in pursuit of a spurious and unattainable authenticity, but just simply as a refreshing alternative to the standard, monochrome qualities of

4576-412: The Early music revival, and many advocates of HIP aimed to eliminate vibrato in favour of the "pure" sound of straight-tone singing. The difference in style may be demonstrated by the sound of a boy treble in contrast to the sound of an opera singer such as Maria Callas . Certain historic vocal techniques have gained in popularity, such as trillo , a tremolo -like repetition of a single note that

4680-500: The HIP movement essentially as a 20th-century invention. Writing about the periodical Early Music (one of the leading periodicals about historically informed performance), Peter Hill noted "All the articles in Early Music noted in varying ways the (perhaps fatal) flaw in the 'authenticity' position. This is that the attempt to understand the past in terms of the past is—paradoxically—an absolutely contemporary phenomenon." One of

4784-568: The Middle Ages. They are the most common type of surviving medieval illuminated manuscripts . Each book of hours contain a similar collection of texts, prayers , and psalms but decoration can vary between each and each example. Many have minimal illumination, often restricted to ornamented initials , but books of hours made for wealthier patrons can be extremely extravagant with full-page miniatures . These books were used for owners to recite prayers privately eight different times, or hours, of

4888-423: The act of interpretation. Archival work may be conducted to find connections to music or musicians in a collection of documents of broader interests (e.g., Vatican pay records, letters to a patroness of the arts) or to more systematically study a collection of documents related to a musician. In some cases, where records, scores, and letters have been digitized, archival work can be done online. One example of

4992-696: The arm of the letter h. It has a hairline that tapers out by curving to the left. When first read the German Protogothic h looks like the German Protogothic b. Many more scripts sprang out of the German Protogothic Bookhand. After those came Bastard Anglicana, which is best described as: The coexistence in the Gothic period of formal hands employed for the copying of books and cursive scripts used for documentary purposes eventually resulted in cross-fertilization between these two fundamentally different writing styles. Notably, scribes began to upgrade some of

5096-400: The artist and allow for artistic license . An historic image of musicians may present an idealised or even fictional account of musical instruments, and there is as much a risk that it may give rise to a historically misinformed performance. Opinions on how artistic and academic motivations should translate into musical performance vary. Though championing the need to attempt to understand

5200-551: The beginning of this text coming from the Abby of Saint-Martin at Tours . Caroline Minuscule arrived in England in the second half of the 10th century. Its adoption there, replacing Insular script , was encouraged by the importation of continental European manuscripts by Saints Dunstan , Aethelwold , and Oswald . This script spread quite rapidly, being employed in many English centres for copying Latin texts. English scribes adapted

5304-464: The characteristics of notation," 'notational centricity' (Tagg 1979, p. 28–32). As a result, "musicological methods tend to foreground those musical parameters which can be easily notated" such as pitch relationships or the relationship between words and music. On the other hand, historical musicology tends to "neglect or have difficulty with parameters which are not easily notated", such as tone colour or non-Western rhythms. In addition, he claims that

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5408-475: The chronology of compositions, influences on style and works, and provide important background to the interpretation (by performers or listeners) of works. Thus biography can form one part of the larger study of the cultural significance, underlying program, or agenda of a work; a study which gained increasing importance in the 1980s and early 1990s. Sociological studies focus on the function of music in society as well as its meaning for individuals and society as

5512-464: The codex format (as in a modern book), which had replaced the scroll by Late Antiquity . Parchment or vellum , as the best type of parchment is known, had also replaced papyrus , which was not nearly so long lived and has survived to the present almost exclusively in the very dry climate of Egypt , although it was widely used across the Roman world. Parchment is made of animal skin, normally calf, sheep, or goat, but also other animals. With all skins,

5616-715: The collection, in accordance with national and international content standards such as DACS and ISAD(G) . In other contexts, however, the use of the term "manuscript" no longer necessarily means something that is hand-written. By analogy a typescript has been produced on a typewriter. In book, magazine, and music publishing, a manuscript is an autograph or copy of a work, written by an author, composer or copyist. Such manuscripts generally follow standardized typographic and formatting rules, in which case they can be called fair copy (whether original or copy). The staff paper commonly used for handwritten music is, for this reason, often called "manuscript paper". In film and theatre,

5720-432: The cursive scripts. A script that has been thus formalized is known as a bastard script (whereas a bookhand that has had cursive elements fused onto it is known as a hybrid script). The advantage of such a script was that it could be written more quickly than a pure bookhand; it thus recommended itself to scribes in a period when demand for books was increasing and authors were tending to write longer texts. In England during

5824-461: The day. Along with Bibles, large numbers of manuscripts made in the Middle Ages were received in Church . Due to the complex church system of rituals and worship these books were the most elegantly written and finely decorated of all medieval manuscripts. Liturgical books usually came in two varieties. Those used during mass and those for divine office. Most liturgical books came with a calendar in

5928-546: The early centuries of the Christian era , manuscripts were written without spaces between the words ( scriptio continua ), which makes them especially hard for the untrained to read. Extant copies of these early manuscripts written in Greek or Latin and usually dating from the 4th century to the 8th century, are classified according to their use of either all upper case or all lower case letters . Hebrew manuscripts, such as

6032-491: The entire book examining rhythm, vibrato, and portamento, Philip states that the fallacy of the assumption of tastefulness causes adherents of historical performance to randomly select what they find acceptable and to ignore evidence of performance practice which goes against modern taste. In his book, The Aesthetics of Music , the British philosopher Roger Scruton wrote that "the effect [of HIP] has frequently been to cocoon

6136-710: The era made similar use of the pipe organ , often in combination with a harpsichord. Historically informed performances frequently make use of keyboard-led ensemble playing. Composers such as François Couperin , Domenico Scarlatti , Girolamo Frescobaldi , and Johann Sebastian Bach wrote for the harpsichord, clavichord, and organ. Among the foremost modern players of the harpsichord are Scott Ross , Alan Curtis , William Christie , Christopher Hogwood , Robert Hill , Igor Kipnis , Ton Koopman , Wanda Landowska , Gustav Leonhardt , Trevor Pinnock , Skip Sempé , Andreas Staier , Colin Tilney , and Christophe Rousset . During

6240-430: The era, examining not merely how they played but why they played as they did, and what cultural meaning is embedded in the music. In the conclusion of his study of early twentieth-century orchestral recordings, Robert Philip states that the concept of "what sounds tasteful now probably sounded tasteful in earlier periods" is a fundamental but flawed assumption behind much of the historical performance movement. Having spent

6344-447: The fourteenth and fifteenth centuries, many books were written in the script known as Bastard Anglicana. From ancient texts to medieval maps, anything written down for study would have been done with manuscripts. Some of the most common genres were bibles, religious commentaries, philosophy, law and government texts. " The Bible was the most studied book of the Middle Ages". The Bible was the center of medieval religious life. Along with

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6448-562: The front. This served as a quick reference point for important dates in Jesus' life and to tell church officials which saints were to be honored and on what day. In the context of library science , a manuscript is defined as any hand-written item in the collections of a library or an archive. For example, a library's collection of hand-written letters or diaries is considered a manuscript collection. Such manuscript collections are described in finding aids, similar to an index or table of contents to

6552-523: The full stop, all uppercase or all lowercase) are also accepted. The second s is not simply the plural; by an old convention, a doubling of the last letter of the abbreviation expresses the plural, just as pp. means "pages". A manuscript may be a codex (i.e. bound as a book ), a scroll , or bound differently or consist of loose pages. Illuminated manuscripts are enriched with pictures, border decorations, elaborately embossed initial letters or full-page illustrations. The mechanical reproduction of

6656-508: The history of musical notation are considered to be particularly notable by musicologists. Historical musicology has played a critical role in renewed interest in Baroque music as well as medieval and Renaissance music. In particular, the authentic performance movement owes much to historical musicological scholarship. Towards the middle of the 20th century, musicology (and its largest subfield of historical musicology) expanded significantly as

6760-515: The kammavaca, Buddhist manuscripts, were inscribed on brass, copper or ivory sheets, and even on discarded monk robes folded and lacquered. In Italy some important Etruscan texts were similarly inscribed on thin gold plates: similar sheets have been discovered in Bulgaria . Technically, these are all inscriptions rather than manuscripts. In the Western world, from the classical period through

6864-554: The late 15th century had largely replaced parchment for many purposes there. When Greek or Latin works were published, numerous professional copies were sometimes made simultaneously by scribes in a scriptorium , each making a single copy from an original that was declaimed aloud. The oldest written manuscripts have been preserved by the perfect dryness of their Middle Eastern resting places, whether placed within sarcophagi in Egyptian tombs, or reused as mummy -wrappings, discarded in

6968-484: The late 1980s, begin to address issues such as gender, sexualities, bodies, emotions, and subjectivities which dominated the humanities for twenty years before (ibid, p. 10). In McClary's words (1991, p. 5), "It almost seems that musicology managed miraculously to pass directly from pre- to postfeminism without ever having to change – or even examine – its ways." Furthermore, in their discussion on musicology and rock music, Susan McClary and Robert Walser also address

7072-440: The late 20th century arguments into two points of view, achieving either fidelity to the conditions of performance, or fidelity to the musical work. She succinctly summarizes the critics' arguments (for example, anachronistic, selectively imputing current performance ideas on early music), but then concludes that what the HIP movement has to offer is a different manner of looking at and listening to music: "It keeps our eyes open to

7176-494: The layout of a group of performers, for example in a choir or an orchestra, has changed over time. Determining a historically appropriate layout of singers and instruments on a performance stage may be informed by historical research. In addition to documentary evidence, musicologists may also turn to iconographic evidence — contemporary paintings and drawings of performing musicians — as a primary source for historic information. Pictorial sources may reveal various practices such as

7280-402: The libraries of antiquity are virtually all lost. Papyrus has a life of at most a century or two in relatively humid Italian or Greek conditions; only those works copied onto parchment, usually after the general conversion to Christianity, have survived, and by no means all of those. Originally, all books were in manuscript form. In China, and later other parts of East Asia, woodblock printing

7384-675: The literate class from different regions. It was used in the Holy Roman Empire between approximately 800 and 1200. Codices, classical and Christian texts, and educational material were written in Carolingian minuscule throughout the Carolingian Renaissance . The script developed into blackletter and became obsolete, though its revival in the Italian renaissance forms the basis of more recent scripts. In Introduction to Manuscript Studies , Clemens and Graham associate

7488-460: The more familiar 'pianoforte' used to describe the larger instruments approaching modern designs from around 1830. In the 20th and 21st centuries, the fortepiano has enjoyed a revival as a result of the trend for historically informed performance, with the works of Haydn, Mozart, Beethoven and Schubert now often played on fortepiano. Increasingly, the early to mid 19th century pianos of Pleyel , Érard , Streicher and others are being used to recreate

7592-559: The more skeptical voices of the historically informed performance movement has been Richard Taruskin . His thesis is that the practice of unearthing supposedly historically informed practices is actually a 20th-century practice influenced by modernism and, ultimately, we can never know what music sounded like or how it was played in previous centuries. "What we had been accustomed to regard as historically authentic performances, I began to see, represented neither any determinable historical prototype nor any coherent revival of practices coeval with

7696-464: The most narrow definition of historical musicology. Within historical musicology, scholars have been reluctant to adopt postmodern and critical approaches that are common elsewhere in the humanities. According to Susan McClary (2000, p. 1285) the discipline of "music lags behind the other arts; it picks up ideas from other media just when they have become outmoded." Only in the 1990s did historical musicologists, preceded by feminist musicologists in

7800-667: The musical practice of the period which was codifying the very repertory then taken by musicology as the centre of its attention." These terminological, methodological, and ideological problems affect even works sympathetic to popular music. However, it is not "that musicology cannot understand popular music, or that students of popular music should abandon musicology." (Middleton, p. 104). Manuscript A manuscript (abbreviated MS for singular and MSS for plural) was, traditionally, any document written by hand or typewritten , as opposed to mechanically printed or reproduced in some indirect or automated way. More recently,

7904-428: The older the style and repertoire, the greater the cultural distance and the increased possibility of misunderstanding the evidence. For this reason, the term "historically informed" is now preferred to "authentic", as it acknowledges the limitations of academic understanding, rather than implying absolute accuracy in recreating historical performance style, or worse, a moralising tone. The choice of musical instruments

8008-531: The omitted disciplines, cultures, and musical styles/genres are somehow inferior. A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology, neurosciences , information and computer sciences , empirical sociology and aesthetics ) as well as musical practice. The musicological sub-disciplines of music theory and music analysis have likewise historically been rather uneasily separated from

8112-432: The past in a wad of phoney scholarship, to elevate musicology over music, and to confine Bach and his contemporaries to an acoustic time-warp. The tired feeling which so many 'authentic' performances induce can be compared to the atmosphere of a modern museum.... [The works of early composers] are arranged behind the glass of authenticity, staring bleakly from the other side of an impassable screen". A number of scholars see

8216-565: The period from the Middle Ages to the current era), and depth. Both types of courseoach on a narrower subject while introducing more of the tools of research in music history. The range of possible topics is virtually limitless. Some examples might be "Music during World War I ," " Medieval and Renaissance instrumental music," "Music and politics," " Mozart's Don Giovanni , or Women and music ." The methods and tools of music history are nearly as many as its subjects and therefore make

8320-716: The population organized around the NGO "Sauvegarde et valorisation des manuscrits pour la défense de la culture islamique" (SAVAMA-DCI). Some 350,000 manuscripts were transported to safety, and 300,000 of them were still in Bamako in 2022. An international consultation on the safeguarding, accessibility and promotion of ancient manuscripts in the Sahel was held at the UNESCO office in Bamako in 2020. Most surviving pre-modern manuscripts use

8424-432: The possibility of producing music in new ways under the regulation of new ideals. It keeps our eyes open to the inherently critical and revisable nature of our regulative concepts. Most importantly, it helps us overcome that deep‐rooted desire to hold the most dangerous of beliefs, that we have at any time got our practices absolutely right." What is clear is that a narrowly musicological approach to stylistic reconstruction

8528-555: The practice of musical semiotics – the interpretation of meaning in a work or style – is its situation in a historical context. The interpretative work of scholars such as Kofi Agawu and Lawrence Kramer fall between the analytic and the music historical. The first studies of Western musical history date back to the middle of the 18th century. G.B. Martini published a three volume history titled Storia della musica ( History of Music ) between 1757 and 1781. Martin Gerbert published

8632-556: The quality of the finished product is based on how much preparation and skill was put into turning the skin into parchment. Parchment made from calf or sheep was the most common in Northern Europe, while civilizations in Southern Europe preferred goatskin. Often, if the parchment is white or cream in color and veins from the animal can still be seen, it is calfskin. If it is yellow, greasy or in some cases shiny, then it

8736-418: The recorded performance is disseminated via non-radio means. In insurance, a manuscript policy is one that is negotiated between the insurer and the policyholder, as opposed to an off-the-shelf form supplied by the insurer. About 300,000 Latin, 55,000 Greek, 30,000 Armenian and 12,000 Georgian medieval manuscripts have survived. National Geographic estimates that 700,000 African manuscripts have survived at

8840-409: The recorder. Some famous recorder players include Frans Brüggen , Barthold Kuijken , Michala Petri , Ashley Solomon and Giovanni Antonini . As with instrumental technique, the approach to historically informed performance practice for singers has been shaped by musicological research and academic debate. In particular, there was debate around the use of the technique of vibrato at the height of

8944-426: The repertories they addressed. Rather, they embodied a whole wish list of modern(ist) values, validated in the academy and the marketplace alike by an eclectic, opportunistic reading of historical evidence." "'Historical' performers who aim 'to get to the truth'...by using period instruments and reviving lost playing techniques actually pick and choose from history's wares. And they do so in a manner that says more about

9048-496: The score comes to be seen as 'the music', or perhaps the music in an ideal form." As such, music that does not use a written score, such as jazz, blues, or folk, can become demoted to a lower level of status. As well, historical musicology has "an ideology slanted by the origins and development of a particular body of music and its aesthetic...It arose at a specific moment, in a specific context – nineteenth-century Europe, especially Germany – and in close association with that movement in

9152-565: The second half of the 18th century, the harpsichord was gradually replaced by the earliest pianos. As the harpsichord went out of fashion, many were destroyed; indeed, the Paris Conservatory is notorious for having used harpsichords for firewood during the French Revolution and Napoleonic times. Although names were originally interchangeable, the term ' fortepiano' now indicates the earlier, smaller style of piano, with

9256-683: The singers should stand in front of the instrumentalists. Three main layouts are documented: Some familiar difficult items are as follows: Some information about how music sounded in the past can be obtained from contemporary mechanical instruments. For instance, the Dutch Museum Speelklok owns an 18th-century mechanical organ of which the music programme was composed and supervised by Joseph Haydn . Until modern era, different tuning references have been used in different venues. The baroque oboist Bruce Haynes has extensively investigated surviving wind instruments and even documented

9360-444: The singers who have contributed to the historically informed performance movement are Emma Kirkby , Max van Egmond , Julianne Baird , Nigel Rogers , and David Thomas . The resurgence of interest in Early music, particularly in sacred renaissance polyphony and Baroque opera, has driven a revival of the countertenor voice. High-voice male singers are often cast in preference to female contraltos in HIP opera productions, partly as

9464-402: The size of an ensemble; the position of various types of instruments; their position in relation to a choir or keyboard instrument; the position or absence of a conductor; whether the performers are seated or standing; and the performance space (such as a concert hall, palace chamber, domestic house, church, or outdoors etc.). The German theorist Johann Mattheson , in a 1739 treatise, states that

9568-472: The sound of a 17th-century Baroque orchestra . This has led to the revival of musical instruments that had entirely fallen out of use, and to a reconsideration of the role and structure of instruments also used in current practice. Orchestras and ensembles who are noted for their use of period instruments in performances include the Taverner Consort and Players (directed by Andrew Parrott ),

9672-446: The soundscape of Romantic composers such as Chopin, Liszt and Brahms. Many keyboard players who specialise in the harpsichord also specialise in the fortepiano and other period instruments. Although some keyboardist renowned for their fortepiano playing are Ronald Brautigam , Steven Lubin , Ingrid Haebler , Robert Levin , Malcolm Bilson and Tobias Koch . A vast quantity of music for viols , for both ensemble and solo performance,

9776-406: The symphony orchestra." Daniel Leech-Wilkinson concedes that much of the HIP practice is based on invention: "Historical research may provide us with instruments, and sometimes even quite detailed information on how to use them; but the gap between such evidence and a sounding performance is still so great that it can be bridged only by a large amount of musicianship and invention. Exactly how much

9880-469: The term has come to be understood to further include any written, typed, or word-processed copy of an author's work, as distinguished from the rendition as a printed version of the same. Before the arrival of prints, all documents and books were manuscripts. Manuscripts are not defined by their contents, which may combine writing with mathematical calculations, maps, music notation , explanatory figures, or illustrations. The word "manuscript" derives from

9984-486: The typewriter in the late 19th century. Because of the likelihood of errors being introduced each time a manuscript was copied, the filiation of different versions of the same text is a fundamental part of the study and criticism of all texts that have been transmitted in manuscript. In Southeast Asia , in the first millennium, documents of sufficiently great importance were inscribed on soft metallic sheets such as copperplate , softened by refiner's fire and inscribed with

10088-685: The values of the late twentieth century than about those of any earlier era." In her book The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music , Lydia Goehr discusses the aims and fallacies of both proponents and critics of the HIP movement. She claims that the HIP movement itself came about during the latter half of the 19th century as a reaction to the way modern techniques were being imposed upon music of earlier times. Thus performers were concerned with achieving an "authentic" manner of performing music—an ideal that carries implications for all those involved with music. She distills

10192-586: Was a common way to produce manuscripts. Manuscripts eventually transitioned to using paper in later centuries with the diffusion of paper making in the Islamic empire. When Muslims encountered paper in Central Asia, its use and production spread to Iran, Iraq, Syria, Egypt, and North Africa during the 8th century. 4,203 of Timbuktu's manuscripts were burned or stolen during the armed conflict in Mali between 2012 and 2013. 90% of these manuscripts were saved by

10296-412: Was made from sheepskin. Vellum comes from the Latin word vitulinum which means "of calf"/ "made from calf". For modern parchment makers and calligraphers, and apparently often in the past, the terms parchment and vellum are used based on the different degrees of quality, preparation and thickness, and not according to which animal the skin came from, and because of this, the more neutral term "membrane"

10400-467: Was previously confined to early music from the Baroque era , since the 1990s, research in performance practice has examined other historical eras, such as how early Classical era piano concerti were performed, how the early history of recording affected the use of vibrato in classical music, or which instruments were used in Klezmer music. Biographical studies of composers can give us a better sense of

10504-469: Was principally developed in a number of Western countries in the mid to late 20th century, ironically a modernist response to the modernist break with earlier performance traditions. Initially concerned with the performance of Medieval , Renaissance , and Baroque music , HIP now encompasses music from the Classical and Romantic eras. HIP has been a crucial part of the early music revival movement of

10608-464: Was used for books from about the 7th century. The earliest dated example is the Diamond Sutra of 868. In the Islamic world and the West, all books were in manuscript until the introduction of movable type printing in about 1450. Manuscript copying of books continued for a least a century, as printing remained expensive. Private or government documents remained hand-written until the invention of

10712-444: Was used for ornamental effect in the early Baroque era. Academic understanding of these expressive devices is often subjective however, as many vocal techniques discussed by treatise writers in the 17th and 18th centuries have different meanings, depending on the author. Despite the fashion for straight tone, many prominent Early music singers make use of a subtle, gentle form of vibrato to add expression to their performance. A few of

10816-718: Was written by composers of the Renaissance and Baroque eras, including Diego Ortiz , Claudio Monteverdi , William Byrd , William Lawes , Henry Purcell , Monsieur de Sainte-Colombe , J.S. Bach , Georg Philipp Telemann , Marin Marais , Antoine Forqueray , and Carl Frederick Abel . From largest to smallest, the viol family consists of: Among the foremost modern players of the viols are Paolo Pandolfo , Sigiswald and Wieland Kuijken , Nikolaus Harnoncourt , Jordi Savall , John Hsu , and Vittorio Ghielmi . There are many modern viol consorts . Although largely supplanted by

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