Medieval Music Theory Music notation

Medieval Notation Seminar at Brandeis

Guillaume de Machaut, Doulz amis (ballade) as copied in BnF fr. 1584 (Machaut A), fol. 456v

A quick post about one of the courses I’ll be teaching at Brandeis this Fall 2018: “Seeing Sound: The History and Practice of Notation to c.1500.” To the left is one of the songs we’ll work on–a two-voice fourteenth-century ballade by Guillaume de Machaut. This is an intense but fun course, and very hands-on. Each week students work on a different medieval notation–from chant through to keyboard tablatures of the fifteenth century–learning how to interpret and transcribe the notation directly from high-quality images of the original manuscript sources, and from the explanations given in contemporaneous theory treatises. Brandeis University is part of a cross-registration consortium within Boston that includes Tufts University, Boston University, and Boston College, so if you are a student in any of these institutions and are interested in taking the course, please get in touch. For a course flyer, click the link below.  The course blurb follows.

Notation Seminar Flyer

The late ninth century witnessed a major technological breakthrough in the transmission of music in western Europe that was to have far-reaching consequences. Chants that had been taught orally for several centuries began to be encoded on parchment using signs placed above text syllables that recorded the shape and contour of the chant melodies. Systems of music notation spread rapidly across Europe, and took root as the way to record, archive, share, and (eventually) compose music. This graduate seminar course examines the form and function of music notation, and how the writing down of music transformed music practice. Students will transcribe music from a variety of early notation systems, working with high quality facsimiles and online reproductions of the original manuscripts.

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