Jul 31 2020

Find composition details, parts / movement information and albums that contain performances of Magnus Liber Organi (attrib.) on AllMusic. Leonin is simply an organista (in other words a composer of organa) and the creator The Origin and Destination of the Magnus liber organi development. composed for the cathedral. Anonymous IV also tells us that the orig cycle, the Magnus liber organi, was composed by Leonin and that Per abbreviated it, and.

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Curiously absent from this discussion is any reference to the essays in Warden, ed. A Guide for Fieldworkers. Gender and Sexuality in Music Scholoarship.

University of California Press, Orpheus, the Metamorphoses of a Myth. University of Toronto Press, The New Gay and Lesbian Musicology. New York and London: To begin at the end, Bruce Leojin.

I would argue that all humanistic scholarship should embrace this quality, but equally that scholarship demands a good deal more than empathy.

If not, then all commentary on human endeavor would lay an equal claim to the authority of criticism, as Edward T.

Cone so provocatively entitled a seminal article on the subject. For, if all interpretations, or narratives, are equally valid, whose narrative will prevail? The most empathetic treatment of an issue in the realm of humanities still depends on detailed knowledge of the evidence, skillful argument, and critical acumen to provide a useful contribution to the ongoing dialogue about the human condition see Cone and Treitler.


Music, Body, and Desire in Medieval Culture contains much more than empathy. In particular, it provides a very close reading lier a wide range of texts from late Antiquity to the early modern period that deal with the corporeal production and reception of music. Some of these texts are well known to musicologists or students of literature, but few scholars of any stripe would know all of them or even the majority intimately.

Scholars of literature and music, and magns culture in general, will therefore find much of interest here as well as an important synthesis of many of the most colorful passages on music from the writings of this period. Much of the language of these texts is highly metaphorical, sometimes shockingly so.

That, of course, is the point of metaphor: And any author who uses metaphor invites her or his readers to invoke their own range of associations. Interpretation is necessary, even inevitable, but meaning is commensurately elusive, plural, and inescapably subjective. His treatment is nuanced and avoids imposing a unitary vision on these texts. If we accept the Confessions of Saint Augustine as a sincere attempt at autobiography, then it is clear that Augustine had corporeal appetites that he felt needed to be controlled.


But are the Confessions a sincere attempt at autobiography? If they are not, then what is the value of their testimony?

“Magnus Liber Organi”

Nowhere does Holsinger address this fundamental issue. To be fair, the book covers a lrgani number of texts and authors, orgsni Holsinger would be the first to acknowledge that all of them exist in their own historical context, as he does in his final chapter on medieval treatments of the Orpheus myth. Yet, I am left with the impression that not all of the authors and texts discussed here necessarily say precisely what Holsinger would have them say.

In two central chapters, Holsinger ponders the contributions, literary and musical, of two important figures.

Magnus Liber Organi (Various)

Two-voice conductus “Presul nostri,” from Magnus liber organi. Volume orgni Issue 2. Eminem’s “Murder Ballads” Finn and Cobussen: Ladyfest Los Angeles Grier: Hildegard of Bingen to Chaucer by Bruce Holsinger.

Stanford University Press, Letter to the Editor.