This book analyses religion and change in relation to music within the context of contemporary progressive Judaism. It argues that music plays a central role as a driving force for religious change, comprising several elements seen as central to contemporary religiosity in general: participation, embodiment, experience, emotions and creativity. Focusing on the progressive Anglo-Jewish milieu today, the study investigates how responses to these processes of change are negotiated individually and collectively and what role is allotted to music in this context. Building on ethnographic research conducted at Leo Baeck College in London (2014-2016), it maps how theologically unsystematic life-views take form through everyday musical practices related to institutional religion, identifying three theoretically relevant processes at work: the reflexive turn, the turn within and the turn to tradition.

First full comprehensive guide to one of the most important genres of music in the Middle Ages. Motets constitute the most important polyphonic genre of the thirteenth and fourteenth centuries. Moreover, these compositions are intrinsically involved in the early development of polyphony. This volume - the first to be devotedexclusively to medieval motets - aims to provide a comprehensive guide to them, from a number of different disciplines and perspectives. It addresses crucial matters such as how the motet developed; the rich interplay of musical,poetic, and intertextual modes of meaning specific to the genre; and the changing social and historical circumstances surrounding motets in medieval France, England, and Italy. It also seeks to question many traditional assumptions and received opinions in the area. The first part of the book considers core concepts in motet scholarship: issues of genre, relationships between the motet and other musico-poetic forms, tenor organization, isorhythm, notational development, social functions, and manuscript layout. This is followed by a series of individual case studies which look in detail at a variety of specific pieces, compositional techniques, collections, and subgenres. JARED C. HARTT is Associate Professor of Music Theory at the Oberlin College Conservatory of Music. Contributors: Margaret Bent, Jacques Boogaart, Catherine A. Bradley, Alice V. Clark, Suzannah Clark, KarenDesmond, Lawrence Earp, Sarah Fuller, John Haines, Jared C. Hartt, Elizabeth Eva Leach, Dolores Pesce, Gael Saint-Cricq, Jennifer Saltzstein, Matthew P. Thomson, Stefan Udell, Anna Zayaruznaya, Emily Zazulia

A ground-breaking study of the rise of the catch and glee in Georgian England. The rise of the catch and glee in Georgian England represents a rare example of indigenous forms establishing themselves within a wide musical and social context. This study examines a phenomenon that has to date been largely overlooked by historians. Taking the 17th-century background as a starting point, it moves on to a detailed account of the clubs formed to propagate the two genres, placing them within the ambiance of the thriving club life of Londonand the provinces. The success of the London Catch Club and its emulators in encouraging the creation of a large and popular repertoire that would come to assume nationalistic significance is reflected by the incursion of the catch and glee into mainstream concert life and the theatre. The volume concludes with a discussion of the glee in relation to the aesthetics of the period and a brief survey of its subsequent reputation among musicians and historians.

Can music be a curse? Here is an alternate history of online politics and new technology from the perspective of listening, typing, composing, and shared hearing. Emile Frankel presents a rigorous account of a world felt to be in crisis. The aesthetic and tonal ramifications for such feelings are twisted within the oppressive online structures mediating new music. The legacies of Silicon Valley digitalism, 4chan, Less Wrong, and Chaos Magic are compared to the magical thinking which underlies stochastic composition, and the aesthetics of deconstructed club music. Despite a pessimistic account of Accelerationism and reactionary philosophy, Frankel's spirited writing is full of hope. Hearing the Cloud considers the communal online conversations we engage in daily as profound acts of defiance. Sweet, lithe, oily, and honest music is shown to be an important source of togetherness.

In Jewish Religious Music in Nineteenth-Century America: Restoring the Synagogue Soundtrack, Judah M. Cohen demonstrates that Jews constructed a robust religious musical conversation in the United States during the mid- to late-19th century. While previous studies of American Jewish music history have looked to Europe as a source of innovation during this time, Cohen's careful analysis of primary archival sources tells a different story. Far from seeing a fallow musical landscape, Cohen finds that Central European Jews in the United States spearheaded a major revision of the sounds and traditions of synagogue music during this period of rapid liturgical change. Focusing on the influences of both individuals and texts, Cohen demonstrates how American Jewish musicians sought to balance artistry and group singing, rather than "progressing" from solo chant to choir and organ. Congregations shifted between musical genres and practices during this period in response to such factors as finances, personnel, and communal cohesiveness. Cohen concludes that the "soundtrack" of 19th-century Jewish American music heavily shapes how we look at Jewish American music and life in the first part of the 21st-century, arguing that how we see, and especially hear, history plays a key role in our understanding of the contemporary world around us. Supplemented with an interactive website that includes the primary source materials, recordings of the music discussed, and a map that highlights the movement of key individuals, Cohen's research defines more clearly the sound of 19th-century American Jewry.

A new method of music theory education for undergraduate music students, Harmony, Counterpoint, Partimento is grounded in schema theory and partimento, and takes an integrated, hands-on approach to the teaching of harmony and counterpoint in today's classrooms and studios. A textbook in three parts, the package includes: * the hardcopy text, providing essential stylistic and technical information and repertoire discussion; * an online workbook with a full range of exercises, including partimenti by Fenaroli, Sala, and others, along with arrangements of eighteenth- and nineteenth-century compositions; * an online instructor's manual providing additional information and realizations of all exercises. Linking theoretical knowledge with aural perception and aesthetic experience, the exercises encompass various activities, such as singing, playing, improvising, and notation, which challenge and develop the student's harmonic, melodic, and rhythmic imagination. Covering the common-practice period (Corelli to Brahms), Harmony, Counterpoint, Partimento is a core component of practice-oriented training of musicianship skills, in conjunction with solfeggio, analysis, and modal or tonal counterpoint.

This is the first ever book-length study of the a cappella masses which appeared in France in choirbook layout during the baroque era. Though the musical settings of the Ordinarium missae and of the Missa pro defunctis have been the subject of countless studies, the stylistic evolution of the polyphonic masses composed in France during the seventeenth and eighteenth centuries has been neglected owing to the labor involved in creating scores from the surviving individual parts. Jean-Paul C. Montagnier has examined closely the printed, engraved and stenciled choirbooks containing this repertoire, and his book focuses mainly on the music as it stands in them. After tracing the choirbooks' publishing history, the author places these mass settings in their social, liturgical and musical context. He shows that their style did not all adhere strictly to the stile antico, but could also employ the most up-to-date musical language of the period.

Assist Our Song combines accessible teaching about the theology and shape of worship with essential information about the forms of music used, including congregational hymns, songs, canticles and psalm chant, and music performed by choirs and musicians. It explores the range of resources available, how to extend repertoire, blending the old with the new, changing patterns of church life, and other practical issues. Its aims are the heightening of the profile of music within the church, increasing the skills and understanding on the part of musicians and choirs, assisting leaders of worship and empowering congregations to see themselves also as 'ministers of music' It offers practical assistance for the 'delivery' of music - choosing music, making the most of choirs and working with musicians. It will be welcomed by all who lead, provide or curate music in worship, as well as clergy and ordinands who lack musical expertise or confidence.