Middle Ages Reference Library Vol 2 (A-I) Biographies

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It also includes re-edited material containing tracks not previously released. If the original material is not a CD, the medium is stated between [ Each individual title is linked to a descriptive section containing as much information as possible about the original recording; this description is cross-linked to available CDs actually on the market February in North America or Western Europe. Great care has been taken to prevent misinformation and a large part of the data originates from owned recordings themselves although often not as reliable as it should be. If the recording was not available, the content originates from the usual sources periodicals such as The Gramophone and the Catalogue , Diapason and the Catalogue , Bielefelder Katalog , Notes , and Fanfare , etc.

The discography appearing in Fanfare sept. If all else failed, reference was made to the French book Diapason - Guide de la musique ancienne et baroque Coll. Bouquins, Robert Laffond, [GMAB]; although impressive in term of quality and amount of content, readers should be careful about many recording dates listed.

For those interested in further reading on the discography of the medieval and renaissance periods, refer to the following three publications:.

Also I should mention an excellent series of publications edited by Garland: name of the composer A Guide to research. Very noteworthy is the one stated above on Guillaume de Machaut by Lawrence Earp. I tried to list titles according to their label and release dates. In the linked section, I tried to follow the track order of recording; in some cases when the recording was not available, the order may need correction by a careful reader owning the disc. Part I covers all, but only, the original recordings of the specific title; reference to re-edition, excerpts or compilations of the original recording appears in the linked descriptive page.

Finding all original recordings may well be wishful thinking without comments and corrections. These could be directed to my E-mail address pfr videotron. Credit for any significant contribution will be given at the end of this page. No ranking number appears if the release contains only excerpts of an already listed CD, Cassette or Video in this section.

Part III lists newly released, or soon to be released, CDs when the available information is not sufficient to be added as a specific entry in the preceding list. The text of Machaut's works has been placed together with Part I of the discography, upon following the links to individual pieces below.

Bibliography - English Manuscripts to

This numbering derives directly from musical editions, and so differs from that in poetic editions, which contain many other poems in these forms not set to music. On the linked page, the number of parts is given for the musical setting, as well as other significant comments. More extensive factual remarks on each piece will be prepared over the longer term, possibly including recent research suggestions on chronology. Each page will then give the sources in which the piece is found, followed by the text itself, and then the individual discography see introduction to discography above.

Presently, the only sources listed are the seven primary "Machaut Manuscripts" in which Machaut's work is principally preserved. A wider concordance of sources is in preparation, and will be explained here when it appears. The Machaut Manuscripts are designated by letter, from A to G, and are given precisely as follows:.

In the process of preparing a concordance of sources, the source lists will be re-checked against those in the New Grove , the RISM index, the Latrobe database , as well as against manuscript facsimiles themselves when feasible. Presently, some source lists have been double-checked, while many remain directly those of Chichmaref's edition.

Note that Chichmaref does not use the standard letter designations as given above, but rather his own sequence of letters, perhaps producing confusion. This is due both to the intervening century of musicology, as well as to the fact that other manuscripts survive with texts only. The sources as stated here are the standard musical manuscript designations, and have been "translated" accordingly from Chichmaref.

Thus far, no discrepancies have been found in any of these source listings. The issue of texts is more complicated, as multiple versions exist. The "main" reading as given by Chichmaref has been used, with the exception of where Chichmaref notes correcting the manuscript, in which case it has been un-corrected. Most of these corrections involve the use of the apostrophe. In other cases, Chichmaref is content to reproduce a variety of spellings.

Spelling is not standard within manuscripts, nor is spelling standard in modern sources. Since this was evidently not a major issue for Machaut, it will not be a major issue for us. Chichmaref and most sources do not footnote spelling variations. Chichmaref does footnote variations in wording in different sources, although his footnotes are frequently cryptic.

These have been suppressed for the present for reasons of textual clarity, but are available if needed. With the exception of the " E " manuscript, these variations tend to be small. The " E " manuscript, originally owned by the Duke of Berry, contains numerous textual variations, as well as some alternate music. Chichmaref uses the " G " manuscript as his main source, checked against ten other primary sources.

A-Z Databases

James Press ; St. Martins Press St. Census Bureau U. Consumer Product Safety Commission U. Department of Education U. Environmental Protection Agency U. National Library of Medicine U.

Naval Observatory, Astronomical Applications Dept. Securities and Exchange Commission U. Senate and U. House of Representatives. Agency for International Development United States. There is also a link to a full version in one file, without the text information.

Literary Research Guide/M

The latter is added as a convenience, in addition to the regular listing. Each entry refers to the original recording; this explains why references to the same label are different from other discographies, including the one published by Earp. It also includes re-edited material containing tracks not previously released. If the original material is not a CD, the medium is stated between [ Each individual title is linked to a descriptive section containing as much information as possible about the original recording; this description is cross-linked to available CDs actually on the market February in North America or Western Europe.

Great care has been taken to prevent misinformation and a large part of the data originates from owned recordings themselves although often not as reliable as it should be. If the recording was not available, the content originates from the usual sources periodicals such as The Gramophone and the Catalogue , Diapason and the Catalogue , Bielefelder Katalog , Notes , and Fanfare , etc.

The discography appearing in Fanfare sept. If all else failed, reference was made to the French book Diapason - Guide de la musique ancienne et baroque Coll. Bouquins, Robert Laffond, [GMAB]; although impressive in term of quality and amount of content, readers should be careful about many recording dates listed.

Is there any truth to the King Arthur legends? - Alan Lupack

For those interested in further reading on the discography of the medieval and renaissance periods, refer to the following three publications:. Also I should mention an excellent series of publications edited by Garland: name of the composer A Guide to research. Very noteworthy is the one stated above on Guillaume de Machaut by Lawrence Earp. I tried to list titles according to their label and release dates. In the linked section, I tried to follow the track order of recording; in some cases when the recording was not available, the order may need correction by a careful reader owning the disc.

Part I covers all, but only, the original recordings of the specific title; reference to re-edition, excerpts or compilations of the original recording appears in the linked descriptive page. Finding all original recordings may well be wishful thinking without comments and corrections.

These could be directed to my E-mail address pfr videotron. Credit for any significant contribution will be given at the end of this page. No ranking number appears if the release contains only excerpts of an already listed CD, Cassette or Video in this section. Part III lists newly released, or soon to be released, CDs when the available information is not sufficient to be added as a specific entry in the preceding list. The text of Machaut's works has been placed together with Part I of the discography, upon following the links to individual pieces below.

This numbering derives directly from musical editions, and so differs from that in poetic editions, which contain many other poems in these forms not set to music.


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On the linked page, the number of parts is given for the musical setting, as well as other significant comments. More extensive factual remarks on each piece will be prepared over the longer term, possibly including recent research suggestions on chronology. Each page will then give the sources in which the piece is found, followed by the text itself, and then the individual discography see introduction to discography above. Presently, the only sources listed are the seven primary "Machaut Manuscripts" in which Machaut's work is principally preserved. A wider concordance of sources is in preparation, and will be explained here when it appears.

The Machaut Manuscripts are designated by letter, from A to G, and are given precisely as follows:.

New / Trial Databases

In the process of preparing a concordance of sources, the source lists will be re-checked against those in the New Grove , the RISM index, the Latrobe database , as well as against manuscript facsimiles themselves when feasible. Presently, some source lists have been double-checked, while many remain directly those of Chichmaref's edition.

Note that Chichmaref does not use the standard letter designations as given above, but rather his own sequence of letters, perhaps producing confusion. This is due both to the intervening century of musicology, as well as to the fact that other manuscripts survive with texts only. The sources as stated here are the standard musical manuscript designations, and have been "translated" accordingly from Chichmaref. Thus far, no discrepancies have been found in any of these source listings. The issue of texts is more complicated, as multiple versions exist.

The "main" reading as given by Chichmaref has been used, with the exception of where Chichmaref notes correcting the manuscript, in which case it has been un-corrected.