![]() Looking beyond the well-known figure of Orpheus, this collection explores the myriad stories that shaped not only musical thought, but also its styles, techniques, and practices. How authors interpreted and weaved together these traditional stories, or created their own, reveals much about changing attitudes across the period. Newly written literary stories too were believed capable of moral instruction and influence, and were a medium through which ideas about music could be both explored and transmitted. Such myths were cited in support of arguments about the uses, effects, morality, and preferred styles of music in sources as diverse as theoretical treatises, defences or critiques of music, art, sermons, educational literature, and books of moral conduct. Far from merely offering material for musical settings, authoritative tales from classical mythology, ancient history and the Bible were treated as foundations for musical knowledge. Myths and stories offer a window onto medieval and early modern musical culture. The contributors also look at questions of ownership and function. New discoveries help date the manuscript and explain how it came to Segovia particular attention is paid to the main scribe, now determined to be Flemish, and his relation with northern composers and repertory, above all that of Jacob Obrecht, Alexander Agricola, and Henricus Isaac and the vexed question of the conflicting attributions is considered afresh and found to affect only a few of the fascicles. But which plan, who designed it, and why was the person responsible so interested in this combination?The essays here aim to treat every dimension of this fascinating source. This summary might suggest a messy collection, but on the contrary the manuscript is arranged with care, copied by one proficient scribe (except perhaps for the Spanish texts), who obviously followed a predetermined master plan. An important group of pedagogical pieces by French and Flemish composers may preserve transcriptions of instrumental improvisation. It is unique: no other manuscript of the period transmits a comparable blend of late fifteenth-century music, consisting of 204 sacred works and vernacular pieces in Flemish, French, Italian, and Spanish. The Segovia Manuscript (Cathedral of Segovia, Archivo Capitular) has puzzled musicologists ever since its rediscovery at the beginning of the twentieth century. Franklinos, Peter Godman, Henry Hope, Racha Kirakosian, Heike Sigrid Lammers-Harlander, Jonathan Seelye Martin, Micha Brewer, Carmen Cardelle de Hartmann, Albrecht Classen, Johann Drumbl, Tristan E. HENRY HOPE has taught at the universities of Oxford and Bern his research centres on the musical aspects of Minnesang. FRANKLINOS is a British Academy Postdoctoral Fellow at the University of Oxford, and a Junior Research Fellow of Trinity College, Oxford. They also examine questions of its reception history and audience. Making accessible existing discourse and encouraging fresh debates on the codex, the essays advocate fresh modes of engagement with its contents, contexts, and composition. ![]() The chapters here, from scholars in a variety of fields, enable the less well-known aspects of the Codex Buranus - textual, musical, and artistic - to receive greater scrutiny, and bring new perspectives to bear on the more thoroughly explored parts of the manuscript. ![]() Perhaps more so than many other medieval manuscripts, it is an artefact which demands, and benefits from, an interdisciplinary approach. Its diverse range of texts (some famously featuring in Carl Orff's Carmina Burana and music gives testimony to the intensely vibrant, plurilingual, and multicultural milieu in which the Codex Buranus was compiled, but poses a challenge to modern users. The Codex Buranus, compiled, in all likelihood, in South Tyrol in the first half of the thirteenth century, has fascinated modern scholars and performers ever since its rediscovery in 1803.
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