Presents a cross-section of research on performance issues in medieval and renaissance music. This work draws on complementary disciplines such as dance history, art history, music iconography and performance traditions from beyond western Europe.

The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of documents and materials. This volume of essays presents a cross-section of new research on performance issues in medieval and renaissance music. The subject is approached from a broad perspective, drawing on complementary disciplines such as dance history, art history, music iconography and performance traditions from beyond western Europe. In doing so, the volume continues some of the many lines of enquiry pursued by its dedicatee, Timothy J. McGee, over a lifetime of scholarship devoted to practical questions of playing and singing early music.

'... [a] beautifully illustrated collection... several contributions have practical implications that will be of interest to early music performers'. The Medieval Review '[a] welcome collection of essays ... [that] builds up a picture of how medieval and renaissance music would have been performed, and what it would have sounded like. This worthy tribute to a valued colleague and teacher shows how much musicology can contribute to the performance of early music.' Whole Note '.. the individual articles will have an important impact on students in various disciplines. ... a fine collection of essays, and Timothy J. McGee should be proud of having inspired such a distinguished group of authors to publish them in his honor.' Early Music America