{"title":"表明立场:中世纪晚期声乐复调中的空间因素","authors":"Kevin N. Moll","doi":"10.1484/J.VIATOR.2.300021","DOIUrl":null,"url":null,"abstract":"Assuming the spatial aspect of sound to have been potentially a material concern to medieval musicians, this study explores the issue of relative physical placement of the performers in vocal polyphony as it was practiced from the mid-thirteenth through the mid-fifteenth centuries. Proceeding from an analysis of voice-part formatting in selected representative codices, the study points out the pronounced consistencies that exist in the folio format of the manuscripts consulted, which span a period of nearly 200 years. This result points to there having been only a limited number of normative voice-part dispositions, which themselves arguably correlate with the acoustical properties and contrapuntal functions of voice types in various musical styles. This evidence indicates that conventions of performers’ placement did in fact exist throughout the late medieval era, and that a conscious attempt was being made to effect, through spatial means, a clear projection of voice functions in counterpoint.","PeriodicalId":39588,"journal":{"name":"Viator - Medieval and Renaissance Studies","volume":"11 1","pages":"531-556"},"PeriodicalIF":0.1000,"publicationDate":"2005-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Taking a stand : The spatial factor in vocal polyphony of the late medieval era\",\"authors\":\"Kevin N. Moll\",\"doi\":\"10.1484/J.VIATOR.2.300021\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Assuming the spatial aspect of sound to have been potentially a material concern to medieval musicians, this study explores the issue of relative physical placement of the performers in vocal polyphony as it was practiced from the mid-thirteenth through the mid-fifteenth centuries. Proceeding from an analysis of voice-part formatting in selected representative codices, the study points out the pronounced consistencies that exist in the folio format of the manuscripts consulted, which span a period of nearly 200 years. This result points to there having been only a limited number of normative voice-part dispositions, which themselves arguably correlate with the acoustical properties and contrapuntal functions of voice types in various musical styles. This evidence indicates that conventions of performers’ placement did in fact exist throughout the late medieval era, and that a conscious attempt was being made to effect, through spatial means, a clear projection of voice functions in counterpoint.\",\"PeriodicalId\":39588,\"journal\":{\"name\":\"Viator - Medieval and Renaissance Studies\",\"volume\":\"11 1\",\"pages\":\"531-556\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2005-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Viator - Medieval and Renaissance Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1484/J.VIATOR.2.300021\",\"RegionNum\":3,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Viator - Medieval and Renaissance Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1484/J.VIATOR.2.300021","RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
Taking a stand : The spatial factor in vocal polyphony of the late medieval era
Assuming the spatial aspect of sound to have been potentially a material concern to medieval musicians, this study explores the issue of relative physical placement of the performers in vocal polyphony as it was practiced from the mid-thirteenth through the mid-fifteenth centuries. Proceeding from an analysis of voice-part formatting in selected representative codices, the study points out the pronounced consistencies that exist in the folio format of the manuscripts consulted, which span a period of nearly 200 years. This result points to there having been only a limited number of normative voice-part dispositions, which themselves arguably correlate with the acoustical properties and contrapuntal functions of voice types in various musical styles. This evidence indicates that conventions of performers’ placement did in fact exist throughout the late medieval era, and that a conscious attempt was being made to effect, through spatial means, a clear projection of voice functions in counterpoint.