TY - JOUR
AU - Pestell, Richard
AB - Richard Pestell Medieval art and the performance of Medieval music 'No instruments are used partly because only the the question that remains is whether they were organ was allowed in church but mainly because common and to what extent they reflect a significant instruments seemed to us to be superfluous and aspect of medieval spirituality Conversely, just how irrelevant to the impact of the drama '' concerted was the opposition to instruments in the Middle Ages9 Sleeve note to the Play of Herod, OUP Anthology of Medieval Music (OUP 161) In addition to the complications introduced by such preconceptions, an attempt to establish actual per- 'More unfortunate still is the wholly unnecessary formance practice is further complicated by the paucity decision to supplement the voices with cornetts and of surviving evidence Documentary references, some sackbuts Historically this is almost certainly in- of which will be discussed below, are very scarce this defensible It is necessary only to reconstruct the unavoidably leads to an exaggeration of their signifi- original performing medium, and let the music do the cance What is surely required is an approach that will rest without gratuitous intrusions As the wise man broaden the range of evidence 
TI - Medieval art and the performance of Medieval music
JF - Early Music
DO - 10.1093/earlyj/XV.1.57
DA - 1987-02-01
UR - https://www.deepdyve.com/lp/oxford-university-press/medieval-art-and-the-performance-of-medieval-music-s1xt5b2b1Q
SP - 57
EP - 70
VL - XV
IS - 1
DP - DeepDyve
ER -