Medieval Music and the Art of Memory

Index

index 281 Aaron, Pietro, 133, 145 abacus, teaching of, 116–18 Abbaco, Paolo dell’, 117 abbreviations and memory, 56 Adam of Fulda, 98, 131, 147–48 Adelard of Bath, 185 Adler, Guido, 13 Aegidius de Murino, 224–25, 237 Aelius Donatus, 115 affinities, 88, 91 Agobard of Lyon, 47 Agricola, Rudolf, 219n83 Alain of Lille, 54, 185 Albertus Magnus, 174, 216 Alexander de Villa Dei: Carmen de algorismo, 116, 180; Doctrinale, 101, 115, 180, 183 algorism, 116 Alia musica, 63 Alleluia. Hic Martinus, 168, 171 allusions and memory, 234–35 Alpha vibrans monumentum/Coetus venit heroicus/ Amicum querit, 226–27, 245–49 alphabetization, as memory aid, 52, 54. See also under tonaries Anonymous IV, 25–26, 41–42, 162–63, 165, 172–73, 176 Anonymous V, 110, 237 Anonymous VII, 183 Anonymous XI, 98, 107, 109, 140n81 Anonymous XII, 107 Anonymous of St. Emmeram, 98–99, 176, 179, 194 antiphons, performance of, 58–59 Antonius van Sint Maartensdijk, 86, 105 Apta caro/Flos virginum/Alma redemptoris mater, 223n98 Aquitanian tonary, 77–78 architectural images in music, 92, 221– 22. See also under composition, mental; mnemonic devices Aribo, 103–6 Aristotle, 52, 218 ark of memory, 51, 102, 119, 216, 218–19 Arlt, Wulf, 42–43 Ars discantandi, 102 Atkinson, Charles, 97 attributions, importance of, 25–26 Auerbach, Erich, 234 Augustine, St., 182 Aurelian of Réôme, 63, 70, 72–73 Bach, Johann Sebastian, 42 Bähr, K., 18 Baltzer, Rebecca, 163 Barzizza, Gasparinus, 56 Beethoven, Ludwig van, 20–22 Beldemandis, Prosdocimus de, 146–47, 154n123, 224n110 Bellermann, Heinrich, 19–20 Benedict, St., 48 Benson, Larry D., 129 Bent, Margaret, 213 Berger, Karol, 90–92, 94 Berkeley manuscript, 132 Bernard of Clairvaux, 215–16 Berno of Reichenau: “Epistola de tonis,” 71; Tonarius, 65, 74 Besseler, Heinrich, 12, 14, 250 Blackburn, Bonnie, 145 body, as mnemonic device, 103, 105 Boen, Johannes, 221–25 Boethius, 72, 185 Bologna, 113 Bolzano, 114 Bolzoni, Lina, 3 Boynton, Susan, 72 Bradwardine, Thomas, 198–99, 217, 219–20, 224, 232 Breßlau, Harry, 10 Brinkmann, Reinhold, 9 Bruges, 112 Buigne, Gace de la, 225 buildings. See architectural images in music; house, as memory place Bukofzer, Manfred, 33 Burtius, Nicolaus, 130–31, 140n80, 148, 209 Calandri, Filippo, 135 Carruthers, Mary, 3–4, 51–52, 56, 82, 93– 94, 102–3, 119, 127, 159, 173, 188, 198, 214–15, 219, 232, 234, 250 cartella, 93 Cataneo, Pietro, 116 chant: performance of, 196. See also under memorization; notation, chant Chioggia, 113 choirboys, teaching of, 112–14, 139, 143n86 chunking, 199, 224, 235, 248, 250 Cicero, 198, 215 Cimello, Giovan Tomaso, 156 Cistercian reform, 49 Clanchy, Michael, 101 classification: by alphabet, 54; by author, 53; in music treatises, 120, 127; as sign of memorization, 5; by subject, 53, 55; in tonaries, 57–84. See also divisio; florilegia Cluny, 49 Cochlaeus, Johannes, 146–47 cogitatio, 214–15 Coleman, Janet, 3 color: as formula, 165, 173; in isorhythmic motets, 222–25, 228, 241, 243, 245–46, 248–49 282 index Commemoratio brevis de tonis, 64 Commentum super tonos, 66 composition, mental, 4, 159, 200–201, 208–10, 214–15, 224, 248–50, 253; aided by architectural structures, 215–20 compositional process, 38. See also composition , mental computus, 94 consonance tables, 131, 133, 138, 149 consonances, memorization of, 131–32, 137–38 contrapunctus, 130, 136 copula, 164 countergymel, 205 counterpoint: diminished, role of memory in, 151–56; teaching of, 112–14; threepart , 205–6; treatises, 130–58. See also discant; faburdon; sight treatises Crocker, Richard, 90, 206 Curtius, Ernst Robert, 38 D’Avray, D.L., 164, 173, 188 Dahlhaus, Carl, 24n71 Dante, 225 De modorum formulis et tonarius, 66 Del Lago, Giovanni, 209 Della Porta, Giovanni Battista, 93 Desmond, Karen, 65 diagrams, 86, 93, 219, 225, 237; as memory tools, 16, 102–10; tree, 6, 107–8 Diapente et diatessaron simphonie, 95 Dijon tonary, 77n126, 79–80 discant, 164–65; divisio in, 188–95; English, 201–7; memorization of, 189–95; transmission of, 174. See also counterpoint dispositio, 218 dissonance rules, and notation, 152–57 Disticha Catonis, 115 distinctiones, 64–65, 83 divisio: in discant, 188–95; in isorhythmic motets, 221–25; as mnemonic technique, 51–52. See also distinctiones “Dominus”: clausulae, 243; melisma settings, 189–95 Douce playsence/Garison selon nature/Neuma quinti toni (Philippe de Vitry), 225–32 drawing, from memory, 219n83 Dronke, Peter, 185 Durham, 113 E voces unisonas aequat, 95–96 Eberhard of Béthune, 101...