Medieval Music (The Norton Introduction to Music History)

Rating:
Summary: A very comprehensive book in the related area.
Review: A very detail book of Music from period before 300 A.D to the beginning of Music Renaissance. Concepts are often illustrated with musical examples and with historical background provided.

It is written in a style apt for advanced music students. Not recommended for amatuer and even music student who want to learn the "basics" of Medieval Music

Rating:
Summary: Interesting, readable, history of Medieval Music
Review: 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.

Rating:
Summary: Scholarly Survey of Medieval Music
Review: 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 music.

If not already clear by the preceding paragraph, this text is not recommended for beginners at all. I found many concepts in the book difficult (especially some of the explanations on psalm tones and the "flex" as well as some of the Franconian or Italian mensuration), and I'm supposed to know this stuff.

As with most books in this series, a companion anthology of medieval music can also be purchased which I found quite helpful. Hoppin refers to it often. Another helpful book to have on hand would be a copy of the good old Liber usualis. They're tough to find these days.

Other books on medieval music are by Jeremy Yudkin and there is a two-volume set written by Giulio Cattin and F. Alberto Gallo which has been recently translated. I haven't read either, but they are the only ones I know of which might be this thorough. Hoppin provides a good bibliography for each chapter, so experts can dig deeper. A very good survey overall.

Rating:
Summary: Scholarly Survey of Medieval Music
Review: 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 music.

If not already clear by the preceding paragraph, this text is not recommended for beginners at all. I found many concepts in the book difficult (especially some of the explanations on psalm tones and the "flex" as well as some of the Franconian or Italian mensuration), and I'm supposed to know this stuff.

As with most books in this series, a companion anthology of medieval music can also be purchased which I found quite helpful. Hoppin refers to it often. Another helpful book to have on hand would be a copy of the good old Liber usualis. They're tough to find these days.

Other books on medieval music are by Jeremy Yudkin and there is a two-volume set written by Giulio Cattin and F. Alberto Gallo which has been recently translated. I haven't read either, but they are the only ones I know of which might be this thorough. Hoppin provides a good bibliography for each chapter, so experts can dig deeper. A very good survey overall.