Mark Everist | |
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| Born | 27 December 1956 |
Mark Everist (born 27 December 1956) is a British music historian, critic and musicologist.
Mark Everist | |
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| | |
| Born | 27 December 1956 |
Mark Everist (born 27 December 1956) is a British music historian, critic and musicologist.
Born in London, Everist was educated at Clifton College (Bristol) and studied at Dartington College of Arts (BA 1979), King's College London (MMus 1980), and Keble College, Oxford (DPhil 1985).
After taking up his first post as lecturer, then reader, in musicology at King's College London in 1982, he accepted a position at the University of Southampton in 1996 and was promoted to professor. He has served as Head of Department (1997–2001 and 2005–2009) and Associate Dean (Research) for the Faculty of Arts and Humanities (2010–2014). [1] For the 2014/15 academic year he was Professorial Fellow at the Institute of Musical Research, London. [2] He has held visiting positions at the Paris Conservatoire, [3] the University of Western Australia, [4] and the University of Melbourne. [5]
Everist's publications have won the Westrup Prize of the Music & Letters trust, [6] the Solie Prize of the American Musicological Society for the best collection of essays [7] and the Slim Prize for the best article published in a refereed journal. He has been elected to the Academia Europaea [8] and is a corresponding member of the American Musicological Society (only 16 UK scholars have received this distinction since the society's founding in 1937). [9] He has been honoured by articles devoted to him in The New Grove Dictionary of Music and Musicians [10] and in Die Musik in Geschichte und Gegenwart . [11]
Everist was chair of the National Association of Music in Higher Education from 2005 until 2008, [12] was elected President of the Royal Musical Association in 2011 and re-elected for a second term in 2014. [13]
Everist's publications focus on the Ars Antiqua , music drama in nineteenth-century France, and reception theory. His latest monograph is Discovering Medieval Song: Latin Poetry and Music in the Conductus (Cambridge: Cambridge University Press, 2018). His previous monograph, Mozart's Ghosts: Haunting the Halls of Musical Culture (2012), investigates Mozart's reception in English, French, and German-speaking countries, and was reviewed as an "elegantly written, meticulously researched, anecdotally rich, intellectually and ethically subtle piece of scholarship". [14] Earlier books examine the sources of polyphony and the motet in the thirteenth century, and French stage music in the nineteenth century. Everist has edited or co-edited five volumes, as well as three volumes in the series Le magnus liber organi de Notre Dame de Paris published by Editions de l'Oiseau-Lyre between 2001 and 2003. His articles in refereed journals and chapters in collected works number in excess of 60, and many of his articles have been translated into French, German, Japanese and Italian.
In his Arts and Humanities Research Council-funded project, Cantum pulcriorem invenire: Thirteenth-Century Latin Poetry and Music (CPI), Everist and a team of specialists at the University of Southampton investigated the medieval Conductus (2010–2016). The project produced three professional CDs of the repertory under examination and also supported four PhD dissertations and Everist's monograph entitled Discovering Medieval Song (Cambridge: Cambridge University Press, 2018). [15] He is also the co-director of the network "France: Musiques, Cultures, 1789–1918". [16]
Over 60 articles in various peer-reviewed journals, including:
Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1150), High (1000–1300), and Late (1300–1400) medieval music.
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond. The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts".
Guillaume de Machaut was a French composer and poet who was the central figure of the ars nova style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the ars nova from the subsequent ars subtilior movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer.
Pérotin was a composer associated with the Notre Dame school of polyphony in Paris and the broader ars antiqua musical style of high medieval music. He is credited with developing the polyphonic practices of his predecessor Léonin, with the introduction of three and four-part harmonies.
Organum is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line may be sung on the same text, the melody may be followed in parallel motion, or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody, another singer—singing "by ear"—provided the unnotated second melody. Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
Isorhythm is a musical technique using a repeating rhythmic pattern, called a talea, in at least one voice part throughout a composition. Taleae are typically applied to one or more melodic patterns of pitches or colores, which may be of the same or a different length from the talea.
Ars nova refers to a musical style which flourished in the Kingdom of France and its surroundings during the Late Middle Ages. More particularly, it refers to the period between the preparation of the Roman de Fauvel (1310s) and the death of composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the fourteenth century. For instance, the term "Italian ars nova" is sometimes used to denote the music of Francesco Landini and his compatriots, although Trecento music is the more common term for the contemporary 14th-century music in Italy. The "ars" in "ars nova" can be read as "technique", or "style". The term was first used in two musical treatises, titled Ars novae musicae by Johannes de Muris, and a collection of writings attributed to Philippe de Vitry often simply called "Ars nova" today. Musicologist Johannes Wolf first applied to the term as description of an entire era in 1904.
The conductus was a sacred Latin song in the Middle Ages, one whose poetry and music were newly composed. It is non-liturgical since its Latin lyric borrows little from previous chants. The conductus was northern French equivalent of the versus, which flourished in Aquitaine. It was originally found in the twelfth-century Aquitanian repertories. But major collections of conductus were preserved in Paris. The conductus typically includes one, two, or three voices. A small number of the conductus are for four voices. Stylistically, the conductus is a type of discant. Its form can be strophic or through-composed form. The genre flourished from the early twelfth century to the middle of thirteenth century. It was one of the principal types of vocal composition of the ars antiqua period of medieval music history.
Franco of Cologne was a German music theorist and possibly a composer. He was one of the most influential theorists of the Late Middle Ages, and was the first to propose an idea which was to transform musical notation permanently: that the duration of any note should be determined by its appearance on the page, and not from context alone. The result was Franconian notation, described most famously in his Ars cantus mensurabilis.
The Trecento was a period of vigorous activity in Italy in the arts, including painting, architecture, literature, and music. The music of the Trecento paralleled the achievements in the other arts in many ways, for example, in pioneering new forms of expression, especially in secular song in the vernacular language, Italian. In these regards, the music of the Trecento may seem more to be a Renaissance phenomenon; however, the predominant musical language was more closely related to that of the late Middle Ages, and musicologists generally classify the Trecento as the end of the medieval era. Trecento means "three hundred" in Italian but is usually used to refer to the 1300s. However, the greatest flowering of music in the Trecento happened late in the century, and the period is usually extended to include music up to around 1420.
The Montpellier Codex is an important source of 13th-century French polyphony. The Codex contains 336 polyphonic works probably composed c. 1250–1300, and was likely compiled c. 1300. It is believed to originate from Paris. It was discovered by musicologist Edmond de Coussemaker in c. 1852.
The Bamberg Codex is a manuscript containing two treatises on music theory and a large body of 13th-century French polyphony.
Christopher Page is a British expert on medieval music, instruments and performance practice, together with the social and musical history of the guitar in England from the sixteenth century to the nineteenth. He has written numerous books regarding medieval music. He is currently a Fellow of Sidney Sussex College and Emeritus Professor of Medieval Music and Literature in the Faculty of English, University of Cambridge.
Margaret Bent CBE, is an English musicologist who specializes in music of the late medieval and Renaissance eras. In particular, she has written extensively on the Old Hall Manuscript, English masses as well as the works of Johannes Ciconia and John Dunstaple.
Suzannah Clark is a Canadian-British musicologist and music theorist specializing in the music of Franz Schubert, the history of music theory, and medieval music. She is currently Morton B. Knafel Professor of Music and in 2019 was named Harvard College Professor at Harvard University and from 2016–2019 served as chair of the Music Department at Harvard.
Hans Tischler was an American musicologist and composer with Austrian origins.
Thomas Forrest Kelly is an American musicologist, musician, and scholar. He is the Morton B. Knafel Professor of Music at Harvard University. His most recent books include: The Role of the Scroll (2019), Capturing Music: The Story of Notation (2014), and Music Then and Now (2012).
Francis Llewellyn Harrison, better known as "Frank Harrison" or "Frank Ll. Harrison" was one of the leading musicologists of his time and a pioneering ethnomusicologist. Initially trained as an organist and composer, he turned to musicology in the early 1950s, first specialising in English and Irish music of the Middle Ages and increasingly turning to ethnomusicological subjects in the course of his career. His Music in Medieval Britain (1958) is still a standard work on the subject, and Time, Place and Music (1973) is a key textbook on ethnomusicology.
Harry White is an Irish musicologist and university professor. With specialisations in Irish musical and cultural history, the music of the Austrian baroque composer Johann Joseph Fux, and the development of Anglo-American musicology since 1945, he is one of the most widely published and influential academics in his areas of research. White is also a poet, with two published collections of poetry.
The American Institute of Musicology (AIM) is a musicological organization that researches, promotes and produces publications on early music. Founded in 1944 by Armen Carapetyan, the AIM's chief objective is the publication of modern editions of medieval, Renaissance and early Baroque compositions and works of music theory. Among the series it produces are the Corpus mensurabilis musicae (CMM), Corpus Scriptorum de Musica (CSM) and Corpus of Early Keyboard Music (CEKM). In CMM specifically, the AIM has published the entire surviving oeuvres of a considerable amount of composers, most notably the complete works of Guillaume de Machaut and Guillaume Du Fay, among many others. The CSM, which focuses on music theory, has published the treatises of important theorists such as Guido of Arezzo and Jean Philippe Rameau. The breadth and quality of publications produced by the AIM constitutes a central contribution to the study, practice and performance of early music.
Corresponding members shall be persons who, at the time of their election, are nationals of countries other than Canada or the United States of America and who have made particularly notable contributions to furthering the stated object of the [American Musicological] Society and whom the Society wishes to honor.
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