Medieval Music (The Norton Introduction to Music History)

This book (and its companion anthology) provide a solid introduction to the rise of polyphony in the medieval period. It necessarily deals with church forms and the ways in which they evolved over centuries. Hoppin then shows us the secular music and poetry of the troubadours, dance music, and the rise of the motet and they ways which they not only interacted with each other, but how they in turn changed sacred music. The author presents his material in a logical sequence with appropriate illustrations and musical examples. The text is very readable and provides good references and bibliographical sources for further reading and study. Hoppin is also sensitive to the geographical differences in the way music developed. He does have separate chapters for the Ars Nova (new art) in France, Italy, and other developments in England. And since the time period is long, he also focuses what happens in different centuries. The only composer that gets his own chapter (since so much music was written by the ever present anonymous) is the monumental Guillaume de Machaut. The book ends discussing the transition to the Renaissance and the "Old Hall Manuscript". Fascinating stuff from a very rich and formative period in the tradition of Western Art Music.

This book has become the standard textbook for graduate music courses on medieval music in the U.S. I have read most of the new Norton books from this series on music history, and must say it's above average. Most people and even many music majors feel that medieval music can be at times, well, boring. Hoppin's text proves to be scholarly yet interesting.The first chapter is a fascinating historical introduction from the end of the Roman Empire up to 1000 A.D. The second chapter then covers the history of the Christian liturgy through this time, which is also equally interesting. Following chapters cover sacred music (Gregorian Chant, the music of the Offices/Mass, Embellishment of the liturgy, polyphony, and the Notre Dame School) and then switches over to secular music (trouveres, music outside France, and the motet). The book then covers the later medieval period, including the Ars Nova in France, Machaut, the Italian Ars Nova, and even a section on English music. If not already clear by the preceding paragraph, this text is not recommended for beginners at all. I found many concepts in the book difficult (especially some of the explanations on psalm tones and the "flex" as well as some of the Franconian or Italian mensuration), and I'm supposed to know this stuff. As with most books in this series, a companion anthology of medieval music can also be purchased which I found quite helpful. Hoppin refers to it often. Another helpful book to have on hand would be a copy of the good old Liber usualis. They're tough to find these days.Other books on medieval music are by Jeremy Yudkin and there is a two-volume set written by Giulio Cattin and F. Alberto Gallo which has been recently translated. I haven't read either, but they are the only ones I know of which might be this thorough. Hoppin provides a good bibliography for each chapter, so experts can dig deeper. A very good survey overall.

I am an amateur, that is, I _love_ early music. Mr. Hoppin's book is engaging in that he not only writes about the music, but gives the political and cultural background to the music. His examples are carefully explained. Even though this is used as a "textbook," it is not dry reading.Most people who love early music, will not find his musical explanations too technical. A basic knowledge of music (for many gained from private piano study) will be sufficient knowledge to take in Mr. Hoppin's explanations.For me, this is an essential text. I refer to it over and over again as an "early music" musician.