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The Heroic in Music (Hardcover)
Beate Kutschke, Katherine Butler; Contributions by Beate Kutschke, Katherine Butler, Roman Hankeln, …
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R2,460
Discovery Miles 24 600
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Ships in 12 - 17 working days
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Reconstructs the socio-political history of the heroic in music
through case studies spanning the middle ages to the twenty-first
century The first part of this volume reconstructs the various
musical strategies that composers of medieval chant, Renaissance
madrigals, and Baroque operas, cantatas or oratorios employed when
referring to heroic ideas exemplifying their personal moral and
political values. A second part investigating the eighteenth and
nineteenth centuries expands the previous narrow focus on
Beethoven's heroic middle period and the cult of the virtuoso. It
demonstrates the wide spectrum of heroic positions - national,
ethnic, revolutionary, bourgeois and spiritual - that filtered not
only into 'classical' large-scale heroic symphonies and virtuoso
solo concerts, but also into chamber music and vernacular dance
music. The third part documents the forced heroization of music in
twentieth-century totalitarian regimes such as Nazi-Germany and the
Soviet Union and its consequences for heroic thinking and musical
styles in the time thereafter. Final chapters show how recent
rock-folk and avant-garde musicians in North America and Europe
feature new heroic models such as the everyday hero and the
scientific heroine revealing new confidence in the idea of the
heroic.
Music and musical entertainments are here shown to be used for
different ends, by both monarch and courtiers. Queen Elizabeth I
(1558-1603) had a strong reputation for musicality; her court
musicians, Thomas Tallis and William Byrd, even suggested that
music was indispensable to the state. But what roles did music play
in Elizabethan court politics? How did a musical image assist the
Queen in projecting her royal authority? What influence did her
private performances have on her courtships, diplomatic affairs,
and relationships with courtiers? To what extent did Elizabeth
control court music, or could others appropriate performances to
enhance their own status and achieve their ambitions? Could
noblemen, civic leaders, or even musicians take advantage of
Elizabeth's love of music to present their complaints and petitions
in song? This book unravels the connotations surrounding
Elizabeth's musical image and traces the political roles of music
at the Elizabethan court. It scrutinizes the most intimate
performances within the Privy Chamber, analyses the masques and
plays performed in the palaces, and explores the grandest musical
pageantry of tournaments, civic entries, and royal progresses. This
reveals how music served as a valuable means for both the tactful
influencing of policies and patronage, and the construction of
political identities and relationships. In the late Tudor period
music was simultaneously a tool of authority for the monarch and an
instrumentof persuasion for the nobility. KATHERINE BUTLER is a
Senior Lecturer at Northumbria University, Newcastle.
Music and musical entertainments are here shown to be used for
different ends, by both monarch and courtiers. Queen Elizabeth I
(1558-1603) had a strong reputation for musicality; her court
musicians, Thomas Tallis and William Byrd, even suggested that
music was indispensable to the state. But what roles did music play
in Elizabethan court politics? How did a musical image assist the
Queen in projecting her royal authority? What influence did her
private performances have on her courtships, diplomatic affairs,
and relationships with courtiers? To what extent did Elizabeth
control court music, or could others appropriate performances to
enhance their own status and achieve their ambitions? Could
noblemen, civic leaders, or even musicians take advantage of
Elizabeth's love of music to present their complaints and petitions
in song? This book unravels the connotations surrounding
Elizabeth's musical image and traces the political roles of music
at the Elizabethan court. It scrutinizes the most intimate
performances within the Privy Chamber, analyses the masques and
plays performed in the palaces, and explores the grandest musical
pageantry of tournaments, civic entries, and royal progresses. This
reveals how music served as a valuable means for both the tactful
influencing of policies and patronage, and the construction of
political identities and relationships. In the late Tudor period
music was simultaneously a tool of authority for the monarch and an
instrumentof persuasion for the nobility. KATHERINE BUTLER is a
Senior Lecturer at Northumbria University, Newcastle.
Titles in the Pocket Tutor series give practical guidance on
subjects that medical students and foundation doctors need help
with "on the go," at a highly affordable price that puts them
within reach of those rotating through modular courses or working
on attachment. Common investigations (ECG, imaging, etc) Clinical
skills (patient examination, etc.) Clinical specialties that
students perceive as too small to merit a textbook (psychiatry,
renal medicine) Key points Practical, accessible introduction to a
subject that students find daunting, but which juniors will
encounter either as part of both orthopaedic and emergency
rotations Logical, sequential content: relevant basic science; then
chapters devoted to the clinical essentials of orthopaedics and the
disorders and injuries seen most commonly in practice Descriptions
of common disorders are enhanced by Clinical Scenarios (Patient
presents with...), which help students and trainees to recognise
and manage common presenting problems
The complex relationship between myths and music is here
investigated. Myths and stories offer a window onto medieval and
early modern musical culture. Far from merely offering material for
musical settings, authoritative tales from classical mythology,
ancient history and the Bible were treated as foundations for
musical knowledge. Such myths were cited in support of arguments
about the uses, effects, morality and preferred styles of music in
sources as diverse as theoretical treatises, defences or critiques
of music, art, sermons, educational literature and books of moral
conduct. Newly written literary stories too were believed capable
of moral instruction and influence, and were a medium through which
ideas about music could be both explored and transmitted. How
authors interpreted and weaved together these traditional stories,
or created their own, reveals much about changing attitudes across
the period. Looking beyond the well-known figure of Orpheus, this
collection explores the myriad stories that shaped not only musical
thought, but also its styles, techniques and practices. The essays
show that music itself performed and created knowledge in ways
parallel to myth, and worked in tandem with old and new tales to
construct social, political and philosophical views. This
relationship was not static, however; as the Enlightenment dawned,
the once authoritative gods became comic characters and myth became
a medium forridicule. Overall, the book provides a foundation for
exploring myth and story throughout medieval and early modern
culture, and facilitating further study into the Enlightenment and
beyond. KATHERINE BUTLER is a seniorlecturer in music at
Northumbria University; SAMANTHA BASSLER is a musicologist of
cultural studies, a teaching artist, and an adjunct professor in
the New York metropolitan area. Contributors: Jamie Apgar, Katie
Bank, Samantha Bassler, Katherine Butler, Elina G. Hamilton, Sigrid
Harris, Ljubica Ilic, Erica Levenson, John MacInnis, Patrick
McMahon, Aurora Faye Martinez, Jacomien Prins, Tim Shephard, Jason
Stoessel, Ferdia J. Stone-Davis, Amanda Eubanks Winkler.
Based on a vast, virtually unstudied archive of Indian writings
alongside visual sources, this book presents the first history of
music and musicians in late Mughal India c.1748–1858 and takes
the lives of nine musicians as entry points into six prominent
types of writing on music in Persian, Brajbhasha, Urdu and English,
moving from Delhi to Lucknow, Hyderabad, Jaipur and among the
British. It shows how a key Mughal cultural field responded to the
political, economic and social upheaval of the transition to
British rule, while addressing a central philosophical question:
can we ever recapture the ephemeral experience of music once the
performance is over? These rich, diverse sources shine new light on
the wider historical processes of this pivotal transitional period,
and provide a new history of music, musicians and their audiences
during the precise period in which North Indian classical music
coalesced in its modern form.
Deeper Roots: An American Odyssey takes us on a captivating quest
both near and far discovering Katherine Butler Jones' family
ancestry. Her adventures in New York, Jamaica, W.I., Africa and
Europe highlight two deep-rooted beliefs-the importance of knowing
one's history and that true learning is often achieved through a
connection to the larger world. From the hallways of 409 Edgecombe
Avenue in Harlem, her childhood home where her neighbors included
future Supreme Court Justice Thurgood Marshall and social scientist
and civil rights activist W.E.B. Du Bois, to the halls of academia
and the front lines of the civil rights movement, Butler Jones'
life is a timeless journey of curiosity, discovery and
enlightenment. As a result of their life experiences and insight,
educator, writer, historian and social activist Butler Jones and
her husband - social worker and civic organizer Hubey Jones -
instilled in each of their eight children a commitment to
education, activism and community. Their children continue the
quest. "We are keepers of the dream, the prophets of the future,
and the instruments of change." Katherine Butler Jones At the very
core of Katherine Butler Jones' captivating memoir is her memory of
Harlem, particularly her days at 409 Edgecombe, a historic landmark
in the community that Jones recalls so vividly that it's as if the
walls were talking. How wonderful to relive these splendid moments
with a superb storyteller. Herb Boyd Editor, The Harlem Reader
Katherine Butler Jones has written a deeply personal story of
strong family and community support. A vivid African American story
of overcoming obstacles and forging bonds with Africans, and a
moving story of civic participation in pursuit of equality and
justice for all. Vivian Johnson, Ed.D. Associate Professor Emerita
School of Education, Boston University
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