Accuracy In Medieval Time

The need for accuracy or authenticity is a goal that many people have in their lives, whether indirectly or directly. For instance, a doctor must be accurate when performing a delicate surgery because a life is in his hands, or a translator must be both accurate and authentic when translating a text. The translator must be accurate in the literal translation of the text, but also must keep the authenticity of what the original author was trying to say. In the world of music, the same battle over accuracy and authenticity plays out from one period in music history to the next, but maybe the most debated period would be the medieval period of music. During the medieval period, the modern system of notation was in its infancy. Much of the

This is an idea that the second author, Richard Taruskin, touched on in, “The Pastness of the Present and the Presence of the Past.” Taruskin said, “I continue to maintain that composers do not usually have intentions such as we would like to ascertain…” This concept is very important when it comes to achieving accuracy and authenticity in preforming medieval music. Sacred music composers of the time only composed music for the sole reason of praising God though the liturgy and offices. Many composers did not seek credit for their work for this reason. So when determining the composers purpose for medieval piece of music without a definitive author, it can almost be definitively said that it was written for a religious reason and religious reason only. Taruskin also brought up the idea of context, as discussed in the previous paragraph. Taruskin said, “The concept of contextually seems especially paradoxical when you consider that practically all music composed before 1800, and a great deal composed since, is almost invariably heard out of context today – that is, in the most anachronistic of all settings, the concert hall.” This again goes to show the importance of context when performing medieval