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Music Discourse from Classical to Early Modern Times

Music Discourse from Classical to Early Modern Times: Editing and Translating Texts

Edited by Maria Rika Maniates
  • Book Info
    Music Discourse from Classical to Early Modern Times
    Book Description:

    The five essays in this collection deal with the problems inherent in editing and translating writings on such diverse subjects as music theory, harmonic science, composition, sociology, liturgy, and performance practice.

    eISBN: 978-1-4426-7746-3
    Subjects: Language & Literature, History

Table of Contents

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  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-v)
  3. Members of the Conference
    (pp. vi-vi)
  4. Introduction
    (pp. vii-xii)
    Maria Rika Maniates

    The twenty-sixth Conference on Editorial Problems is the first on music. The theme of the conference concerns problems in editing and translating discourse about music—that is, writings on music theory, composition, philosophy, harmonic science, sociology, liturgy, and performance practice. Thus, though the subject matter is music, the material under scrutiny is connected to many cognate disciplines.

    The conference is multidisciplinary not only with respect to cognate fields of inquiry, but also with respect to the study of music itself, for it embraces musicology and ethnomusicology, historical and systematic research, philology and hermeneutics. And yet, a common thread can be...

  5. Fidelities and Infidelities in Translating Early Music Theory
    (pp. 1-16)
    Claude V. Palisca

    To what in the original text should a translation be faithful—to the author’s terminology by the use of cognates?—to the syntax?—to sentence-structure and paragraphing?—to the images?—to the general sense?—to every nuance of the author’s message?—to the author’s writing style?

    TERMINOLOGY. The technical language of music theory is full of terms that have different meanings today from what they had in earlier times. The most problematic of these terms is “harmony.” In the earliest writings—both Greek and Latin—harmoniastood for agreement of parts and relations as well as for the more particularly...

  6. Editing Adémar de Chabannes’ Liturgy for the Feast of Saint Martial
    (pp. 17-44)
    James Grier

    On 3 August 1029, the monks of the Abbey of Saint Martial in Limoges sought to inaugurate a new liturgy for their patron saint, a new liturgy that acknowledged and celebrated his status as an apostle, the younger cousin of Simon Peter, an intimate of Jesus himself, and Saint Peter’s delegate to Gaul.¹ The historical Martial was well-known, from the writings of Gregory of Tours, as a third-century Roman missionary to Limoges who became its first Bishop, and the liturgy that the apostolic version replaced clearly recognized him as a confessor-bishop.² The motivation to create this far-fetched tale of his...

  7. [Illustrations]
    (pp. None)
  8. Editing and Translating Medieval Arabic Writings on Music
    (pp. 45-70)
    George Dimitri Sawa

    In this paper I discuss editorial problems I encountered while working on my Canada Research Fellowship project,Source Readings in Medieval Middle Eastern Music History. Intended as a supplement to Oliver Strunk’sSource Readings in Music History, the project draws on two types of discourse under the general rubric of music theory and music literature, and it covers a historical period from about 750 to 1450 AD. Below there follows a summary of the project.

    Part One: Music Literature

    1) Physical Setting and Format of Music Making

    2) Uses and Functions of Songs

    3) Concept of Music

    4) Behavior: physical/verbal/social...

  9. Preparing Editions and Translations of Humanist Treatises on Music: Franchino Gaffurio’s Theorica Musice (1492)
    (pp. 71-96)
    Walter Kurt Kreyszig

    Humanist texts on music theory, because of their intrinsic nature, present an array of problems. This is partly the result of the wide selection of sources, ranging from classical texts, poetry and prose included, to the writings of the Church Fathers, as well as more contemporary writings. Beyond this, the Latin language, like other Romance languages, has undergone a number of significant changes, all of which amount to a freer use of both syntax and grammar.

    The translation of music-theoretical treatises has benefitted from several excellent models found in two series, namely,Music Theory Translation Series¹ andGreek and Latin...

  10. [Illustrations]
    (pp. None)
  11. The Translator as Interpreter: Euclid’s Sectio canonis and Ptolemy’s Harmonica in the Latin Tradition
    (pp. 97-148)
    Alan C. Bowen and William R. Bowen

    INTRODUCTION. To say that a translator is an interpreter is to say that to translate a text you must understand it, and that to understand it you must interpret it, that is, adapt it interactively with your own views of the subject. Such a claim raises numerous questions about translation and interpretation that fall today under the general rubric of hermeneutics. But it is also a claim of interest for the historical study of how ideas are transmitted from one culture to another. So, in what follows, we propose to bypass such hermeneutical worries as whether translation so described is...

  12. Back Matter
    (pp. 149-149)