Re-Envisioning Past Musical Cultures

Acknowledgments
Introduction
1: The Problem
2: The New Historical View of Chant Transmission
A: The Theories of Treitler and Hucke
B: Oral and Written Transmission as Conceived in the New Historical View
3: Some Reflections on the New Historical View
A: The "Rules" of "Grammar" and "Rhetoric": Deciphering the "Language" of Formulaic Chant
B: Problems of Proof and Plausibility: The Need for Empirical Confirmation
C: Implications and Applications: Toward Methodologies for Melodic Criticism and Editing
D: Summary
4: Some Ethnomusicological Concerns
A: Some Terms
B: Cross-Cultural Comparisons
1: Principles of Comparison
2: Some Comparable Cultures
C: The Performers and Their World
D: Books and the Oral/Written Continuum
1: The Historical Continuum, from Oral to Written
2: Uses of Books in Liturgical Celebrations
3: Performance Practice
E: Cultural Contexts
1: Musical Contacts between Clergy and Laity
2: Liturgical and Quasi-Liturgical "Folk Songs"
3: Regional Chant Dialects
4: Art Music vs. Folk Song in the Liturgy
5: Some Possible Means of Oral Transmission in Liturgical Chant
A: Formulas
1: Repetition
2: Ranges of Variability
3: Concepts of "Formula" and "Centonization" in Selected Cultures
4: "Formulas" with Syntactic Functions
B: Melody Types, Melodic Models, and Tune Families
1: Melodic Groups and Types
2: Melodic Outlines and Contours
3: Kinds of Melodic Models: A Continuum
4: The Impact of Modal Theory
C: Interpolated Syllables
D: Melodic Embellishment
E: Organum
6: Summary and Conclusion
Works Cited
Index