Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall explores interconnections of the sacred and the secular in music and aesthetic debates of the long nineteenth century. The essays in this volume view the category of the sacred not as a monolithic attribute that applies only to music written for and performed in a religious ritual. Rather, the "sacred" is viewed as a functional as well as a topical category that enhances the discourse of cross-pollination of musical vocabularies between sacred and secular compositions, church and concert music. Using a variety of methodological approaches, the contributors articulate how sacred and religious identities coalesce, reconcile, fuse, or intersect in works from the long nineteenth century that traverse an array of genres and compositional styles.

Five hundred years ago a monk nailed his theses to a church gate in Wittenberg. The sound of Luther's mythical hammer, however, was by no means the only aural manifestation of the religious Reformations. This book describes the birth of Lutheran Chorales and Calvinist Psalmody; of how music was practised by Catholic nuns, Lutheran schoolchildren, battling Huguenots, missionaries and martyrs, cardinals at Trent and heretics in hiding, at a time when Palestrina, Lasso and Tallis were composing their masterpieces, and forbidden songs were concealed, smuggled and sung in taverns and princely courts alike. Music expressed faith in the Evangelicals' emerging worships and in the Catholics' ancient rites; through it new beliefs were spread and heresy countered; analysed by humanist theorists, it comforted and consoled miners, housewives and persecuted preachers; it was both the symbol of new, conflicting identities and the only surviving trace of a lost unity of faith. The music of the Reformations, thus, was music reformed, music reforming and the reform of music: this book shows what the Reformations sounded like, and how music became one of the protagonists in the religious conflicts of the sixteenth century.

Instructive editions: still frequently used in music teaching; rejected by musicology and by "serious" musicians as textually unreliable; silently adopted by many students and sometimes consulted by accomplished musicians... Although they are commonly found both on music shop shelves and on the music stand of many performers, they are rarely studied, discussed and analysed. This book studies the phenomenon of instructive editions from a plurality of viewpoints: what are they? which problems are posed by their use? how and how much are they used today? how, when and why were they born? And, most important of all: what can they tell us as concerns past performance practice? Indeed, instructive editions become formidable tools for the study of past performance, being the distillation of their editor's concept of the work. Their usefulness for studies in performance practice is shown through the analysis of Italian editions of Bach's Well-Tempered Keyboard, an iconic work in keyboard literature and an all-time favourite in performance and teaching. The author's personal experience as a concert pianist and teacher gives a further practical insight into the processes of music making.

Raccolta di poesie di argomento spirituale della musicista Chiara Bertoglio.

Raccolta di componimenti Haiku della musicista, musicologa e saggista Chiara Bertoglio, pluripremiata al concorso internazionale di poesia Haiku "Cascina Macondo" in diverse edizioni dal 2003 in poi.

Uno studio partecipato e attento su come il canto comune del "Va', pensiero" abbia costituito un legame unico a livello culturale, sociale, storico e religioso per gli esuli istriani, fiumani e dalmati, vittime dei tragici avvenimenti del XX secolo.