'Columbia University Libraries/Information Services'
Doi
Abstract
During recent years, scholarship in the field of late medieval music has been heavily weighted toward archival research, paleography, and contemporary theory. Such enterprises have furthered our appreciation of the cultural contexts in which music was composed and experienced, and have led to some gratifying advances in our knowledge of manuscript compilation, performance practice, theoretical texts and their traditions, institutional history, and biography. Having rightly acknowledged such achievements, one must nevertheless concede that even the most positivistic avenues of research often yield results that are decidedly inconclusive. This state of affairs only reminds us that our understanding of music as a living art in this period must inevitably be founded upon the shifting sands of presumption and educated guessing. Moll offers some explanations
