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Quomodo Cantabimus Canticum?

MISC 7 Cover

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MISC 7  Quomodo Cantabimus Canticum? Studies in Honor of Edward H. Roesner

Edited by David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Louis Nádas.

        1st. ed.     2008
    xii + 282 pp.
MISC 7     978-1-59551-496-7     $60.00

Edward Roesner forged a career in musicology that placed him at the forefront of the discipline. This collection of thirteen essays entitled Quomodo Cantabimus Canticum? taking its name from an important motet text in the Roman de Fauvel, and written and edited by a group of scholar friends and students, honors not only his rigorous scholarship but also the breadth of his interest and learning. Starting with Leofranc Holford-Strevens’ rationale of how Roesner, as Gustave Reese’s protégée and successor, had no choice but to be a Medievalist, Gabriela Ilnitchi Currie’s discussion of Eriugenian song, and Susan Rankin’s exposé on the making of Carolingian chant books, the anthology traverses a wide continuum of argument all of which underscores Roesner’s particular interests—liturgy, chant, polyphony, authenticity, the dissemination of texts and ideas  over the centuries, and things Parisian. Andreas Haug brings new perspectives to bear on Notker’s Preface; and following Roesner’s interest in all aspects of the Medieval and Renaissance eras, today’s leading scholars—Rebecca Baltzer, Margaret Bent, Bonnie Blackburn, Susan Boynton, Michel Huglo, Karl Kügle, and Joshua Rifkin—reexamine previously accepted notions of time and space, terminology, and transmission within previously “explicit” texts and tropes. The collection comes full circle with Linda Correll Roesner’s discussion of a Clara Schumann letter (Reese’s wedding gift to the Roesner couple), and a return to Paris with David Cannata’s investigation of Messiaen as Thomistic Christologist. The editors were resolute that Roesner provide his own bibliography! With every sentence, Quomodo Cantabimus Canticum? Essays in Honor of Edward H. Roesner, a compilation that can only begin to plumb Roesner’s facility and relentless pursuit of precision in all areas of academic investigation, marvels “How Can We Sing the Song?”

Mary Carruthers, “Edward H. Roesner: An Appreciation”  
Rena Charnin Mueller, “Edward H. Roesner: A Personal Recollection”  
Leofranc Holford-Strevens, “Suavis et morosus: The Ways of a Word”  
Gabriela Ilnitchi Currie, “Concentum celi quis dormire faciet? Eriugenian Cosmic Song and Carolingian Planetary Astronomy”  
Susan Rankin, “The Making of Carolingian Mass Chant Books”
Andreas Haug, “Re-reading Notker’s Preface”  
Bonnie J. Blackburn, “Properchant: English Theory at Home and Abroad, with an Excursus on Amerus/Aluredus and his Tradition”  
Michel Huglo, “The Manuscript Processionals of Notre Dame of Paris”  
Rebecca A. Baltzer, “The Manuscript Makers of W1: Further Evidence for an Early Date”  
Margaret Bent, “What is Isorhythm?”  
Karl Kügle, “Two Abbots and a Rotulus: New Light on Brussels 19606”  
Joshua Rifkin, “Who really composed Mille regretz?”  
Susan Boynton, “Reconsidering the Toledo Codex of the Cantigas de Santa Maria in the 18th Century”  
Linda Correll Roesner, “Patronage and Friendship in the Mid-Nineteenth Century: An Unpublished Autograph Letter from Clara Schumann to Carl Gustav Carus, Physician to the Saxon Court, Natural Philosopher and Landscape Artist”  
David Butler Cannata, “Messiaen Reads the Infancy Gospels: The Vingt Regards sur l’Enfant-Jésus as Christology”  
Edward H. Roesner, “Publications”  



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