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This book presents one author's view of the range and depth of
recent scholarly study of sacred and liturgical music of the
fifteenth and sixteenth centuries, as represented in a range of
nineteen articles published in the last twenty or so years. It
reprints, and contextualises, groups of articles on music of the
French and Flemish Low Countries, Italy, Germany, England and
Spain. Spanning a broad range of scholarly approaches, the
anthology aims to inform aspiring scholars in the field, and to
stimulate future studies in these and related areas.
Contemplating Shostakovich marks an important new stage in the
understanding of Shostakovich and his working environment. Each
chapter covers aspects of the composer's output in the context of
his life and cultural milieu. The contributions uncover 'outside'
stimuli behind Shostakovich's works, allowing the reader to
perceive the motivations behind his artistic choices; at the same
time, the nature of those choices offers insights into the workings
of the larger world - cultural, social, political - that he
inhabited. Thus his often ostensibly quirky choices are revealed as
responses - by turns sentimental, moving, sardonic and angry - to
the particular conditions, with all their absurdities and
contradictions, that he had to negotiate. Here we see the composer
emerging from the role of tortured loner of older narratives into
that of the gregarious and engaged member of his society that, for
better and worse, characterized the everyday reality of his life.
This invaluable collection offers remarkable new insight, in both
depth and range, into the nature of Shostakovich's working
circumstances and of his response to them. The collection contains
the seeds for a wide range of new directions in the study of
Shostakovich's works and the larger contexts of their creation and
reception.
Contemplating Shostakovich marks an important new stage in the
understanding of Shostakovich and his working environment. Each
chapter covers aspects of the composer's output in the context of
his life and cultural milieu. The contributions uncover 'outside'
stimuli behind Shostakovich's works, allowing the reader to
perceive the motivations behind his artistic choices; at the same
time, the nature of those choices offers insights into the workings
of the larger world - cultural, social, political - that he
inhabited. Thus his often ostensibly quirky choices are revealed as
responses - by turns sentimental, moving, sardonic and angry - to
the particular conditions, with all their absurdities and
contradictions, that he had to negotiate. Here we see the composer
emerging from the role of tortured loner of older narratives into
that of the gregarious and engaged member of his society that, for
better and worse, characterized the everyday reality of his life.
This invaluable collection offers remarkable new insight, in both
depth and range, into the nature of Shostakovich's working
circumstances and of his response to them. The collection contains
the seeds for a wide range of new directions in the study of
Shostakovich's works and the larger contexts of their creation and
reception.
Music played an exceptionally important role in the late Middle
Ages - articulating people's social, psychological and
eschatological needs. The process began with the training of
choirboys whose skill was key to institutional identity. That skill
was closely cultivated and directly sought by kings and emperors,
who intervened directly in recruitment of choirboys and older
singers in order to build and articulate their self-image and
perceived status. Using the documentation of an exceptionally well
preserved archive, this book focuses on music's functioning in an
important church in late Medieval Northern France. It explores a
period when musicians from this region set the agenda across
Europe, developing what is still some of the most sophisticated
music in the Western musical tradition. The book allows a close
focus not on the great achievements of those who cultivated this
music, but on the personal motivations that shaped their life and
work.
The 'cyclic' polyphonic Mass has long been seen as the pre-eminent
musical genre of the late Middle Ages, spawning some of the most
impressive and engrossing musical edifices of the period. Modern
study of these compositions has greatly enhanced our appreciation
of their construction and aesthetic appeal. Yet close consideration
of their meaning - cultural, social, spiritual, personal - for
their composers and original users has begun only much more
recently. This book considers the genre both as an expression of
the needs of the society in which it arose and as a fulfilment of
aesthetic priorities that arose in the wake of the Enlightenment.
From this dual perspective, it aims to enhance both our
appreciation of the genre for today's world, and our awareness of
what it is that makes any cultural artefact endure: its
susceptibility to fulfil the different evaluative criteria, and
social needs, of different times.
New articles on du Fay and Desprez, on sacred and secular music,
and reception history, form a fitting tribute to one of the field's
foremost scholars. This volume celebrates the work of David
Fallows, one of the most influential scholars in the field of
medieval and Renaissance music. It draws together articles by
scholars from around the world, focusing on key topics to which
Fallows has contributed significantly: the life and works of
Guillaume Du Fay and of Josquin Desprez, archival studies and
biography, sacred and secular music of the late mediaeval and
Renaissance period, and reception history. Studies include major
archival discoveries concerning the identity of the composer Fremin
Caron; a reconsideration of the authorship of works within the
Josquin canon, notably Mille regretz and Absalon fili mi; a
freshlook at key works from Du Fay's youth and early maturity;
accounts of newly discovered sources and works; and an appraisal of
David Fallows' contribution to the early music performance movement
by Christopher Page, former directorof Gothic Voices. The
collection also includes two newly published compositions dedicated
to the honorand. Fabrice Fitch teaches at the Royal Northern
College of Music; Jacobijn Kiel is an independent scholar.
Contributors: Rob C. Wegman, Jane Alden, Bonnie J. Blackburn, Honey
Meconi, Gianluca D'Agostino, Andrew Kirkman, Jaap van Benthem,
Margaret Bent, James Haar, Alenjandro Enrique Planchart, Jesse
Rodin, Lorenz Welker, Kinuho Endo, Joshua Rifkin, Thomas
Schmidt-Beste, Richard Sherr, Peter Wright, Fabrice Fitch, Tess
Knighton, Warwick Edwards, Adam Knight Gilbert, Markus Jans, Oliver
Neighbour, Anthony Rooley, Keith Polk, John Milsom, Jeffrey J.
Dean, EricJas, Peter Gulke, Iain Fenlon, Barbara Haggh, Dagmar
Hoffmann-Axthelm, Leofranc Holford-Strevens, Andrea
Lindmayr-Brandl, Esperanza Rodriguez-Garcia, Eugeen Schreurs,
Reinhard Strohm
Music played an exceptionally important role in the late Middle
Ages - articulating people's social, psychological and
eschatological needs. The process began with the training of
choirboys whose skill was key to institutional identity. That skill
was closely cultivated and directly sought by kings and emperors,
who intervened directly in recruitment of choirboys and older
singers in order to build and articulate their self-image and
perceived status. Using the documentation of an exceptionally well
preserved archive, this book focuses on music's functioning in an
important church in late Medieval Northern France. It explores a
period when musicians from this region set the agenda across
Europe, developing what is still some of the most sophisticated
music in the Western musical tradition. The book allows a close
focus not on the great achievements of those who cultivated this
music, but on the personal motivations that shaped their life and
work.
The 'cyclic' polyphonic Mass has long been seen as the pre-eminent
musical genre of the late Middle Ages, spawning some of the most
impressive and engrossing musical edifices of the period. Modern
study of these compositions has greatly enhanced our appreciation
of their construction and aesthetic appeal. Yet close consideration
of their meaning - cultural, social, spiritual, personal - for
their composers and original users has begun only much more
recently. This book considers the genre both as an expression of
the needs of the society in which it arose and as a fulfilment of
aesthetic priorities that arose in the wake of the Enlightenment.
From this dual perspective, it aims to enhance both our
appreciation of the genre for today's world, and our awareness of
what it is that makes any cultural artefact endure: its
susceptibility to fulfil the different evaluative criteria, and
social needs, of different times.
New interpretations of an art form ubiquitious in the Middle Ages.
English alabasters played a seminal role in the artistic
development of late medieval and early modern Europe. Carvings made
of this lustrous white stone were sold throughout England and
abroad, and as a result many survived the iconoclasm that destroyed
so much else from this period. They are a unique and valuable
witness to the material culture of the Middle Ages. This volume
incorporates a variety of new approaches to these artefacts,
employing methodologies drawn from a number of different
disciplines. Its chapters explore a range of key points connected
to alabasters: their origins, their general history and their
social, cultural, intellectual and devotional contexts. ZULEIKA
MURAT is a Research Fellow and Lecturer in the History of Medieval
Art at the University of Padua. Contributors: Jennifer Alexander,
Jon Bayliss, Claire Blakey, Stephanie De Roemer, Rachel King,
AndrewKirkman, Aleksandra Lipinska, Zuleika Murat, Luca Palozzi,
Sophie Phillips, Nigel Ramsay, Christina Welch, Philip Weller, Kim
Woods, Michaela Zoeschg
Essays on important topics in early music. Christopher Page is one
of the most influential and distinguished scholars and performers
of medieval music. His first book, Voices and Instruments of the
Middle Ages (1987), marked the beginning of what might be called
the"Page turn" in the study and performance of medieval music. His
many subsequent publications, radio broadcasting (notably the
series Spirit of the Age) and performances and recordings with his
ensemble Gothic Voices changed the perception of and thinking about
music from before about 1400 and forged new ways of communicating
its essence to scholars as well as its subtle beauty to wider
audiences. The essays presented here in his honour reflectthe broad
range of subject-matter, from the earliest polyphony to the
conductus and motet of the thirteenth and fourteenth centuries, the
troubadour and trouvère repertories, song and dance, church music,
medieval music theory, improvisation techniques, historiography of
medieval music, musical iconography, instrumental music,
performance practice and performing, that has characterised Page's
major contribution to our knowledge of music of the Middle Ages.
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Young Choristers, 650-1700 (Hardcover)
Susan Boynton, Eric Rice; Contributions by Alejandro Planchart, Andrew Kirkman, Anne Bagnall Yardley, …
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R2,345
Discovery Miles 23 450
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Ships in 12 - 17 working days
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First full-length consideration of the role played by young
singers, bringing out its full significance and its development
over time. Young singers played a central role in a variety of
religious institutional settings: urban cathedrals, collegiate
churches, monasteries, guilds, and confraternities. The training of
singers for performance in religious services was so crucial as to
shape the very structures of ecclesiastical institutions, which
developed to meet the need for educating their youngest members;
while the development of musical repertories and styles directly
reflected the ubiquitous participation of children's voices in both
chant and polyphony. Once choristers' voices had broken, they often
pursued more advanced studies either through an apprenticeship
system or at university, frequently with the help of the
institutions to which they belonged. This volume provides the first
wide-ranging book-length treatment of the subject, and will be of
interest to music historians - indeed, all historians - who wish to
understand the role of the young in sacred musical culture before
1700. SUSAN BOYNTON is Associate Professor of Historical Musicology
at Columbia University; ERIC RICE is Assistant Professor of Music
at the University of Connecticut at Storrs. CONTRIBUTORS: SUSAN
BOYNTON, SANDRINE DUMONT, JOSEPH DYER, JANE FLYNN, ANDREW KIRKMAN,
NOEL O'REGAN, ALEJANDRO PLANCHART, RICHARD RASTALL, COLLEEN
REARDON, ERIC RICE, JUAN RUIZ JIMENEZ, ANNE BAGNALL YARDLEY
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