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Nowhere in musical analysis is the tension between the two theoretical positions of considering music in the context of its external circumstances or examining its internal substance so apparent as in the study of the medieval and early repertoire. This volume seeks to bridge the gap between the historical humanistic study of the period's music and the application of analytical techniques more often found in criticism of later music. The chapters investigate a range of musical styles as well as a fair cross section of the ways in which music composed before 1600 is currently being analyzed. The book brings together critics from two camps: historians who seek to explain the nature of medieval and Renaissance music by reference to contemporary contexts, and more abstractly minded analytical scholars. In his introduction Everist explores the possibility of fusing the two approaches. Introduction by Mark Everist 1 Medieval Lyric by Leo Treitler 2 An Early Thirteenth-Century Motet by Norman E. Smith 3 Guillaume de Machaut: De toutes flours by Sarah Fuller 4 The Lamento di Tristano by David Lidov 5 Guillaume Dufay: Alma redemptoris mater (II) by Saul Novack 6 Josquin des Prez: Salve regina (a 5) by Cristle Collins Judd 7 Orlande de Lassus: Si bona suscepimus by James Haar 8 Anthoine de Bertrand: Las! pour vous trop aymer by Jean-Michel Vaccaro 9 William Byrd: Mass for Five Voices by David Stern
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