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Books > Arts & Architecture > Music > Other types of music > Sacred & religious music
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
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.
Fiddled out of Reason is a study of several poems spanning the life
and career of Joseph Addison, who, along with John Dryden,
Alexander Pope, Ambrose Philips, Isaac Watts, and many British
poets of the turn of the eighteenth century, helped to cultivate a
broad new current of nonliturgical "hymnic" verse that became
immensely popular across that century, though it has eluded
critical notice until now. The texts the book examines-Addison's
St. Cecilia's Day odes (1692, 1699), his libretto for the opera
Rosamond (1707), and a sequence of five hymnic works in The
Spectator (1712)-precede by twenty-five years John Wesley's
publication of the first hymnal for use in the Church of England.
The book argues that "secular" hymnic works such as Addison's
emerged alongside religio-political controversies and anxieties
about British national identity, morality, and expressions of
"enthusiastic" passions. Church and Tory interests largely rejected
hymnic verse, claiming it would only "fiddle" unwitting readers
"out of their reason" and reignite the dangerous fervor of
Revolution-era Nonconformity and Dissent. As is evident from his
poetry, Addison, a moderate Whig, ardently opposed this view,
arguing that the hymnic could in fact be a portal to national and
individual amelioration. After an introductory chapter exploring
period conceptions of hymnic poetry and the highly contested term
"hymn" itself, the argument proceeds through three sections to
trace the hymnic's upward trajectory through Addison's early,
mid-period, and mature verse. The book devotes the lion's share of
its attention to the last of these three, which includes the
five-poem Spectator sequence (a poem from the sequence, "The
Spacious Firmament on High," will be familiar to many readers).
Indeed, in addition to offering new readings of hymnic works by
Dryden and Pope, Fiddled out of Reason provides the first extended
critical treatment of these five important poems. Publication of
the book coincides with the 300th anniversary of Addison's death
and with the appearance of a new Oxford edition of Addison's
nonperiodical writings.
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