The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee

Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of Figures and Plates
List of Tables
List of Music Examples
Notes on Contributors
Acknowledgements
Introduction
PART I Viewing the Evidence
	1 A Sight-Reading Vielle Player from the Thirteenth Century
	2 The Story of O: A Variant in the Becket Office
	3 Rubrics in Trent 93 and Trent 90: A Performer’s Guide?
	4 The Ghost of Perfection: Some Thoughts on the Munich Partbooks
	5 Reading the Signs: Notation and Performance in the French Popular
Song Repertory
	6 Vincenzo Galilei’s Re-Vision of Renaissance Tuning: Trading on
Nature and Art
PART II Reconsidering Contexts
	7 Possible Origins of the Lo Dances, and Their Performance
Implications
	8 Chamber Musicians, Singers and Performance Practices in the Early Fifteenth Century
	9 A Measure of Moral Virtue: Women, Dancing and Public Performance in Fifteenth-century Italy
	10 Irregular and Asymmetric Galliards: The Case of Salamone Rossi
	11 Limitations of Meaning: Text and Context in Monteverdi’s
Baci soavi e cari (1587)
	12 Hooked on Ecstasy: Performance ‘Practice’ and the Reception of
the Music of Hildegard of Bingen
Publications of Timothy J. McGee
Index