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Books > Arts & Architecture > Music > Other types of music > Sacred & religious music
The liturgical chant sung in the churches of Southern Italy between
the ninth and thirteenth centuries reflects the multiculturalism of
a territory in which Romans, Franks, Lombards, Byzantines, Normans,
Jews, and Muslims were all present with various titles and
political roles. Chants, Hypertext, and Prosulas examines a
specific genre, the prosulas that were composed to embellish and
expand pre-existing liturgical chants. Widespread in medieval
Europe, prosulas were highly cultivated in southern Italy,
especially by the nuns, monks, and clerics of the city of
Benevento. These texts shed light on the creativity of local
cantors to provide new meanings to the liturgy in accordance with
contemporary waves of religious spirituality, and to experiment
with a novel musical style in which a syllabic setting is paired
with the free-flowing melody of the parent chant. In their
representing an epistemological 'beyond', and in their
interconnectedness with the parent chant, these prosulas can be
likened to modern hypertexts. In this book, author Luisa Nardini
presents the first comprehensive study to integrate textual and
musical analyses of liturgical prosulas as they were recorded in
Beneventan manuscripts. Discussing general features of prosulas in
southern Italy and their relation to contemporary liturgical genres
(e.g., tropes, sequences, hymns), Nardini firmly situates
Beneventan prosulas within the broader context of European musical
history. An invaluable reference for the field, Chants, Hypertext,
and Prosulas provides a new understanding of the phonetic and
morphological transformations of the Latin language in medieval
Italy, and clarifies the use of perennially puzzling features of
Beneventan notation.
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.
Popular music in the twenty-first century is increasingly divided
into niche markets. How do fans, musicians, and music industry
executives define their markets' boundaries? What happens when
musicians cross those boundaries? What can Christian music teach us
about commercial popular music? In God Rock, Inc., Andrew Mall
considers the aesthetic, commercial, ethical, and social boundaries
of Christian popular music, from the late 1960s, when it emerged,
through the 2010s. Drawing on ethnographic research, historical
archives, interviews with music industry executives, and critical
analyses of recordings, concerts, and music festival performances,
Mall explores the tensions that have shaped this evolving market
and frames broader questions about commerce, ethics, resistance,
and crossover in music that defines itself as outside the
mainstream.
Discussion of original performance conventions of Bach's sacred
works - cantatas, Passions, masses - by practising musician and
director of Taverner choir. What type of choir did Bach have in
mind as he created his cantatas, Passions and Masses? How many
singers were at his disposal in Leipzig, and in what ways did he
deploy them in his own music? Seeking to understand the verymedium
of Bach's incomparable choral output, Andrew Parrott investigates a
wide range of sources: Bach's own writings, and the scores and
parts he used in performance, but also a variety of theoretical,
pictorial and archival documents, together with the musical
testimony of the composer's forerunners and contemporaries. Many of
the findings shed a surprising, even disturbing, light on
conventions we have long taken for granted. A whole world away
from, say, the typical oratorio choir of Handel's London with which
we are reasonably familiar, the essential Bach choir was in fact an
expert vocal quartet (or quintet), whose members were also
responsible for all solos and duets. (In a mere handful of Bach's
works, this solo team was selectively supported by a second rank of
singers - also one per part - whose contribution was all but
optional). Parrott shows that this use of aone-per-part choir was
mainstream practice in the Lutheran Germany of Bach's time: Bach
chose to use single voices not because a larger group was
unavailable, but because they were the natural vehicle of elaborate
concerted music. As one of several valuable appendices, this book
includes the text of Joshua Rifkin's explosive 1981 lecture, never
before published, which first set out this line of thinking and
launched a controversy that is long overduefor resolution. ANDREW
PARROTT has made a close study of historical performing practices
in the music of six centuries, and for over twenty-five years he
has been putting research into practice with his own professional
ensembles, the Taverner Consort, Taverner Players and Taverner
Choir.
This handy collection gathers 72 holiday favorites perfect for
caroling or Christmas parties. Songs include: Auld Lang Syne * Away
in a Manger * Carol of the Bells * The Christmas Song (Chestnuts
Roasting on an Open Fire) * Deck the Hall * Feliz Navidad * Frosty
the Snow Man * Happy Holiday * (There's No Place Like) Home for the
Holidays * My Favorite Things * Rockin' Around the Christmas Tree *
Silent Night * We Wish You a Merry Christmas * and more.
A "contemplative" ethnographic study of a Benedictine monastery in
Vermont known for its folk-inspired music. Far from being a
long-silent echo of medieval religion, modern monastery music is
instead a resounding, living illustration of the role of music in
religious life. Benedictine monks gather for communal prayer
upwards of five timesper day, every day. Their prayers, called the
Divine Office, are almost entirely sung. Benedictines are famous
for Gregorian Chant, but the original folk-inspired music of the
monks of Weston Priory in Vermont is amongthe most familiar in
post-Vatican II American Catholicism. Using the ethnomusicological
methods of fieldwork and taking inspiration from the monks' own way
of encountering the world, this book offers a contemplative
engagement with music, prayer, and everyday life. The rich
narrative evokes the rhythms of learning among Benedictines to show
how monastic ways of being, knowing, and musicking resonate with
humanistic inquiry and the pursuit of knowledge andunderstanding.
Maria S. Guarino received her PhD in critical and comparative
studies in music from the University of Virginia. She specializes
in ethnography, religious life, Benedictine monasticism, and
contemplativepractices. Support for this publication was provided
by the Howard Hanson Institute for American Music of the Eastman
School of Music at the University of Rochester.
In the 1960s, Jewish music in America began to evolve. Traditional
liturgical tunes developed into a blend of secular and sacred sound
that became known in the 1980s as "American Nusach." Chief among
these developments was the growth of feminist Jewish songwriting.
In this lively study, Sarah M. Ross brings together scholarship on
Jewish liturgy, U.S. history, and musical ethnology to describe the
multiple roots and development of feminist Jewish music in the last
quarter of the twentieth century. Focusing on the work of prolific
songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael,
Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume
illuminates the biographies and oeuvres of innovators in the field,
and shows how this new musical form arose from the rich contexts of
feminism, identity politics, folk music, and Judaism. In addition
to providing deep content analysis of individual songs, Ross
examines the feminist Jewish music scene across the United States,
the reception of this music, challenges to disseminating the music
beyond informal settings, and the state of Jewish music publishing.
Rounding out the picture of the transformation of Jewish music, the
volume contains appendixes of songs and songwriters a selection of
musical transcriptions of feminist Jewish songs, and a
comprehensive discography. This book will interest scholars and
students in the fields of American Jewish history, women's studies,
feminism, ethnomusicology, and contemporary popular and folk music.
The first part of Nicaea and its Legacy offers a narrative of the
fourth-century trinitarian controversy. It does not assume that the
controversy begins with Arius, but with tensions among existing
theological strategies. Lewis Ayres argues that, just as we cannot
speak of one `Arian' theology, so we cannot speak of one `Nicene'
theology either, in 325 or in 381. The second part of the book
offers an account of the theological practices and assumptions
within which pro-Nicene theologians assumed their short formulae
and creeds were to be understood. Ayres also argues that there is
no fundamental division between eastern and western trinitarian
theologies at the end of the fourth century. The last section of
the book challenges modern post-Hegelian trinitarian theology to
engage with Nicaea more deeply.
A "contemplative" ethnographic study of a Benedictine monastery in
Vermont known for its folk-inspired music. Far from being a
long-silent echo of medieval religion, modern monastery music is
instead a resounding, living illustration of the role of music in
religious life. Benedictine monks gather for communal prayer
upwards of five times per day, every day. Their prayers, called the
Divine Office, are almost entirely sung. Benedictines are famous
for Gregorian Chant, but the original folk-inspired music of the
monks of Weston Priory in Vermont is among the most familiar in
post-Vatican II American Catholicism. Using the ethnomusicological
methods of fieldwork and taking inspiration from the monks' own way
of encountering the world, this book offers a contemplative
engagement with music, prayer, and everyday life. The rich
narrative evokes the rhythms of learning among Benedictines to show
how monastic ways of being, knowing, and musicking resonate with
humanistic inquiry and the pursuit of knowledge and understanding.
Support for this publication was provided by the Howard Hanson
Institute for American Music of the Eastman School of Music at the
University of Rochester.
Now with a new cover! This book offers the inspiring true stories
behind 101 of your favorite hymns. It is excellent for devotional
reading, sermon illustrations, and bulletin inserts, as well as for
historical or biographical research.
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