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Books > Arts & Photography > Music > History & Criticism > 0393090906
  1. Medieval Music (The Norton Introduction to Music History)
    Medieval Music (The Norton Introduction to Music History)
    Medieval Music (The Norton Introduction to Music History)
    Medieval Music (The Norton Introduction to Music History)
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  2. Medieval Music (The Norton Introduction to Music History)

    Delivery: 10-20 Working Days
    Customer Ratings (5 reviews)
    Price R1172.00

Additional Information

The captivating "history" of the figure of Orpheus, his enduring legacy as the force and muse of creation itself.

For at least two and a half millennia, the figure of Orpheus has haunted humanity. Half-man, half-god, musician, magician, theologian, poet, and lover, his story never leaves us. He may be myth, but his lyre still sounds, entrancing everything that hears it: animals, trees, water, stones, and men. In this extraordinary work, Ann Wroe goes in search of Orpheus, tracing the man and the power he represents through the myriad versions of a fantastical life: his birth in Thrace, his studies in Egypt, his voyage with the Argonauts to fetch the Golden Fleece, his love for Eurydice and the journey to Hades, and his terrible death. We see him tantalizing Cicero and Plato, and breathing new music into Gluck and Monteverdi; occupying the mind of Jung and the surreal dreams of Cocteau; scandalizing the Fathers of the early Church, and filling Rilke with poems like a whirlwind. He emerges as not simply another mythical figure but the force of creation itself, singing the song of light out of darkness and life out of death.

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Richard H. Hoppin
W. W. Norton & Company
W. W. Norton & Company
W. W. Norton & Company
W. W. Norton & Company
Most Helpful Customer Reviews

This book has become the standard textbook for graduate music courses on medieval music in the U.S. I have read most of the new Norton books from this series on music history, and must say it's above average.
Most people and even many music majors feel that medieval music can be at times, well, boring. Hoppin's text proves to be scholarly yet interesting.
The first chapter is a fascinating historical introduction from the end of the Roman Empire up to 1000 A.D. The second chapter then covers the history of the Christian liturgy through this time, which is also equally interesting.
Following chapters cover sacred music (Gregorian Chant, the music of the Offices/Mass, Embellishment of the liturgy, polyphony, and the Notre Dame School) and then switches over to secular music (trouveres, music outside France, and the motet). The book then covers the later medieval period, including the Ars Nova in France, Machaut, the Italian Ars Nova, and even a section on English... Read more
This book (and its companion anthology) provide a solid introduction to the rise of polyphony in the medieval period. It necessarily deals with church forms and the ways in which they evolved over centuries. Hoppin then shows us the secular music and poetry of the troubadours, dance music, and the rise of the motet and they ways which they not only interacted with each other, but how they in turn changed sacred music.

The author presents his material in a logical sequence with appropriate illustrations and musical examples. The text is very readable and provides good references and bibliographical sources for further reading and study.

Hoppin is also sensitive to the geographical differences in the way music developed. He does have separate chapters for the Ars Nova (new art) in France, Italy, and other developments in England. And since the time period is long, he also focuses what happens in different centuries. The only composer that gets his own chapter... Read more
I am an amateur, that is, I _love_ early music. Mr. Hoppin's book is engaging in that he not only writes about the music, but gives the political and cultural background to the music. His examples are carefully explained. Even though this is used as a "textbook," it is not dry reading.
Most people who love early music, will not find his musical explanations too technical. A basic knowledge of music (for many gained from private piano study) will be sufficient knowledge to take in Mr. Hoppin's explanations.
For me, this is an essential text. I refer to it over and over again as an "early music" musician.
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