@article{
 title = {Machaut no ongaku no nezasu mono},
 type = {article},
 year = {1981},
 identifiers = {[object Object]},
 keywords = {23: Historical musicology (Western music) -- To,Dufay,Guillaume -- style -- compared with Guillaume de,Guillaume de Machaut -- style,historiography -- Renaissance -- date of beginnin},
 pages = {39},
 volume = {32},
 month = {6},
 id = {b558f483-4b7b-393e-84cc-092f4aca97da},
 created = {2010-10-13T21:12:06.000Z},
 file_attached = {false},
 profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},
 group_id = {c0eb349a-6e84-3b18-a0e1-cfb072910808},
 last_modified = {2010-10-13T21:15:53.000Z},
 read = {false},
 starred = {false},
 authored = {false},
 confirmed = {true},
 hidden = {false},
 citation_key = {aboshi_machaut_1981},
 source_type = {article},
 abstract = {Though the music of the ars nova is normally considered with Renaissance music, the date of the Renaissance's beginning has been pushed up by recent scholarship to the 1430s. Thus, the ars nova - and the music of Machaut, the period's best representative - should be considered part of the Middle Ages. A feature that distinguishes Machaut from Dufay, whose music comes from the beginning of the Renaissance, is that Machaut considered a note a 'point', while Dufay considered it a continuous 'sound'. Medieval theorists related proportions of intervals to theological concepts, the octave, 4th, and 5th being considered 'perfect'. Machaut's music, even with its melismatic style, is founded on such principles, placing it firmly within the medieval period.},
 bibtype = {article},
 author = {Aboshi, Tsuyoshi (Author) and (Author), 網干 毅},
 journal = {Bigaku/Aesthetics},
 number = {1}
}

{"_id":"rXBTSP3qd9ACKAkv3","bibbaseid":"aboshi-author-machautnoongakunonezasumono-1981","downloads":0,"creationDate":"2015-05-22T01:17:18.090Z","title":"Machaut no ongaku no nezasu mono","author_short":["Aboshi, T., (.","(Author), 網., 毅."],"year":1981,"bibtype":"article","biburl":null,"bibdata":{"title":"Machaut no ongaku no nezasu mono","type":"article","year":"1981","identifiers":"[object Object]","keywords":"23: Historical musicology (Western music) -- To,Dufay,Guillaume -- style -- compared with Guillaume de,Guillaume de Machaut -- style,historiography -- Renaissance -- date of beginnin","pages":"39","volume":"32","month":"6","id":"b558f483-4b7b-393e-84cc-092f4aca97da","created":"2010-10-13T21:12:06.000Z","file_attached":false,"profile_id":"992ba1bc-1967-3b6a-a728-baa12466e495","group_id":"c0eb349a-6e84-3b18-a0e1-cfb072910808","last_modified":"2010-10-13T21:15:53.000Z","read":false,"starred":false,"authored":false,"confirmed":"true","hidden":false,"citation_key":"aboshi_machaut_1981","source_type":"article","abstract":"Though the music of the ars nova is normally considered with Renaissance music, the date of the Renaissance's beginning has been pushed up by recent scholarship to the 1430s. Thus, the ars nova - and the music of Machaut, the period's best representative - should be considered part of the Middle Ages. A feature that distinguishes Machaut from Dufay, whose music comes from the beginning of the Renaissance, is that Machaut considered a note a 'point', while Dufay considered it a continuous 'sound'. Medieval theorists related proportions of intervals to theological concepts, the octave, 4th, and 5th being considered 'perfect'. Machaut's music, even with its melismatic style, is founded on such principles, placing it firmly within the medieval period.","bibtype":"article","author":"Aboshi, Tsuyoshi (Author) and (Author), 網干 毅","journal":"Bigaku/Aesthetics","number":"1","bibtex":"@article{\n title = {Machaut no ongaku no nezasu mono},\n type = {article},\n year = {1981},\n identifiers = {[object Object]},\n keywords = {23: Historical musicology (Western music) -- To,Dufay,Guillaume -- style -- compared with Guillaume de,Guillaume de Machaut -- style,historiography -- Renaissance -- date of beginnin},\n pages = {39},\n volume = {32},\n month = {6},\n id = {b558f483-4b7b-393e-84cc-092f4aca97da},\n created = {2010-10-13T21:12:06.000Z},\n file_attached = {false},\n profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},\n group_id = {c0eb349a-6e84-3b18-a0e1-cfb072910808},\n last_modified = {2010-10-13T21:15:53.000Z},\n read = {false},\n starred = {false},\n authored = {false},\n confirmed = {true},\n hidden = {false},\n citation_key = {aboshi_machaut_1981},\n source_type = {article},\n abstract = {Though the music of the ars nova is normally considered with Renaissance music, the date of the Renaissance's beginning has been pushed up by recent scholarship to the 1430s. Thus, the ars nova - and the music of Machaut, the period's best representative - should be considered part of the Middle Ages. A feature that distinguishes Machaut from Dufay, whose music comes from the beginning of the Renaissance, is that Machaut considered a note a 'point', while Dufay considered it a continuous 'sound'. Medieval theorists related proportions of intervals to theological concepts, the octave, 4th, and 5th being considered 'perfect'. Machaut's music, even with its melismatic style, is founded on such principles, placing it firmly within the medieval period.},\n bibtype = {article},\n author = {Aboshi, Tsuyoshi (Author) and (Author), 網干 毅},\n journal = {Bigaku/Aesthetics},\n number = {1}\n}","author_short":["Aboshi, T., (.","(Author), 網., 毅."],"bibbaseid":"aboshi-author-machautnoongakunonezasumono-1981","role":"author","urls":{},"keyword":["23: Historical musicology (Western music) -- To","Dufay","Guillaume -- style -- compared with Guillaume de","Guillaume de Machaut -- style","historiography -- Renaissance -- date of beginnin"],"downloads":0},"search_terms":["machaut","ongaku","nezasu","mono","aboshi","(author)"],"keywords":["23: historical musicology (western music) -- to","dufay","guillaume -- style -- compared with guillaume de","guillaume de machaut -- style","historiography -- renaissance -- date of beginnin"],"authorIDs":[]}