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The worlds of new music and historically informed performance might
seem quite distant from one another. Yet, upon closer
consideration, clear points of convergence emerge. Not only do many
contemporary performers move easily between these two worlds, but
they often do so using a shared ethos of flexibility,
improvisation, curiosity, and collaboration—collaboration with
composers past and present, with other performers, and with
audiences. Bringing together expert scholars and performers
considering a wide range of issues and case studies, Historical
Performance and New Music—the first book of its kind—addresses
the synergies in aesthetics and practices in historical performance
and new music. The essays treat matters including technologies and
media such as laptops, printing presses, and graphic notation; new
music written for period instruments from natural horns to the
clavichord; personalities such as the pioneering singer Cathy
Berberian; the musically "omnivorous" ensembles A Far Cry and
Roomful of Teeth; and composers Luciano Berio, David Lang, Molly
Herron, Caroline Shaw, and many others. Historical Performance and
New Music presents pathbreaking ideas in an accessible style that
speaks to performers, composers, scholars, and music lovers alike.
Richly documented and diverse in its methods and subject matter,
this book will open new conversations about contemporary musical
life.
Musical culture in Jewish communities in early modern Italy was
much more diverse than researchers originally thought. An
interdisciplinary reassessment, Music and Jewish Culture in Early
Modern Italy evaluates the social, cultural, political, economic,
and religious circumstances that shaped this community, especially
in light of the need to recognize individual experiences within
minority populations. Contributors draw from rich materials,
topics, and approaches as they explore the inherently diverse
understandings of music in daily life, the many ways that Jewish
communities conceived of music, and the reception of and responses
to Jewish musical culture. Highlighting the multifaceted experience
of music within Jewish communities, Music and Jewish Culture in
Early Modern Italy sheds new light on the place of music in
complex, previously misunderstood environments.
Musical culture in Jewish communities in early modern Italy was
much more diverse than researchers originally thought. An
interdisciplinary reassessment, Music and Jewish Culture in Early
Modern Italy evaluates the social, cultural, political, economic,
and religious circumstances that shaped this community, especially
in light of the need to recognize individual experiences within
minority populations. Contributors draw from rich materials,
topics, and approaches as they explore the inherently diverse
understandings of music in daily life, the many ways that Jewish
communities conceived of music, and the reception of and responses
to Jewish musical culture. Highlighting the multifaceted experience
of music within Jewish communities, Music and Jewish Culture in
Early Modern Italy sheds new light on the place of music in
complex, previously misunderstood environments.
New essays by noted authorities on music and related arts in early
modern Italy, giving special attention to musical sources, poetry,
performance, and visual arts. The rich cultural environment of
early modern Italy inspired a vast array of musical innovations:
this was the first age of the virtuoso performer, the era that
witnessed the beginnings of opera, and a moment that saw the
intersection and cross-fertilization of madrigals and songs of all
sorts. Word, Image, and Song: Essays on Early Modern Italy presents
a broad range of approaches to the study of music and related arts
in that era. Topics include musical source studies, issues of
performance, poetry and linguistics, influences on music from the
classical tradition, and the interconnectedness of music and visual
art. Their points of departure include well-known musical workssuch
as Monteverdi's madrigals, librettos of seventeenth-century operas,
the poetry of Giambattista Marino, and the paintings of Titian and
his contemporaries. Contributors: Jennifer Williams Brown, Mauro
Calcagno, Alan Curtis, Suzanne G. Cusick, Ruth I. DeFord, Dinko
Fabris, Beth L. Glixon, Jonathan E. Glixon, Barbara Russano
Hanning, Wendy Heller, Robert R. Holzer, Deborah Howard, Giuseppe
Mazzotta, Margaret Murata, David Rosand, Susan ParkerShimp, Gary
Tomlinson, Alvaro Torrente, Andrew H. Weaver. Rebecca Cypess is
Assistant Professor of Music at the Mason Gross School of the Arts
at Rutgers, the State University of New Jersey. Beth L. Glixon is
Instructor in Musicology at the University of Kentucky School of
Music. Nathan Link is NEH Associate Professor of Music at Centre
College.
A study of musical salons in Europe and North America between 1760
and 1800 and the salon hostesses who shaped their musical worlds.
In eighteenth-century Europe and America, musical salons-and the
women who hosted and made music in them-played a crucial role in
shaping their cultural environments. Musical salons served as a
testing ground for new styles, genres, and aesthetic ideals, and
they acted as a mediating force, bringing together professional
musicians and their audiences of patrons, listeners, and
performers. For the salonniere, the musical salon offered a space
between the public and private spheres that allowed her to exercise
cultural agency. In this book, musicologist and historical
keyboardist Rebecca Cypess offers a broad overview of musical
salons between 1760 and 1800, placing the figure of the salonniere
at its center. Cypess then presents a series of in-depth case
studies that meet the salonniere on her own terms. Women such as
Anne-Louise Brillon de Jouy in Paris, Marianna Martines in Vienna,
Sara Levy in Berlin, Angelica Kauffman in Rome, and Elizabeth
Graeme in Philadelphia come to life in multidimensional ways.
Crucially, Cypess uses performance as a tool for research, and her
interpretations draw on her experience with the instruments and
performance practices used in eighteenth-century salons. In this
accessible, interdisciplinary book, Cypess explores women's agency
and authorship, reason and sentiment, and the roles of performing,
collecting, listening, and conversing in the formation of
eighteenth-century musical life.
Applies the notion of musical "voice" to diverse repertoires,
ranging from the operas and cantatas of Handel to the autograph
albums of nineteenth-century collector Charlotte de Rothschild. The
concept of musical voice has been a subject of controversy in
recent decades, as the primacy of the composer's place in the
creation of the work has been called into question. The essays in
Word, Image, and Song: Essays onMusical Voices take the notion of
musical voice as a starting point, and apply it in varying ways to
diverse repertoires and music-historical circumstances, ranging
from the operas and cantatas of Handel to the autograph albums of
nineteenth-century collector Charlotte de Rothschild. Rather than
attributing interpretive control to the composer, performer, or
audience alone, these essays present a range of interpretive
strategies with respect to the various voices that one might hear
and understand as emerging from a musical work: the composer's
voice, the performer's voice, the patron's voice, the collector's
voice, and the social or receptive voice. Contributors: Bathia
Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T.
Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni
Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie. Rebecca
Cypess is Assistant Professor of Music at the Mason Gross School of
the Arts at Rutgers, the State University of New Jersey. Beth L.
Glixon is instructor in musicology at the University of Kentucky
School of Music. Nathan Link is NEH Associate Professor of Music at
Centre College.
A rich interdisciplinary exploration of the world of Sara Levy, a
Jewish salonnière and skilled performing musician in late
eighteenth-century Berlin, and her impact on the Bach revival,
German-Jewish life, and Enlightenment culture. Sara Levy née Itzig
(1761-1854), a salonnière, skilled performing musician, and active
participant in enlightened Prussian Jewish society, played a
powerful role in shaping the dynamic cultural world of late
eighteenth- and earlynineteenth-century Berlin. A patron and
collector of music, she studied harpsichord with Wilhelm Friedemann
Bach (1710-84) and commissioned musical compositions from both
Friedemann and his brother Carl Philipp Emanuel Bach (1714-88).
Archival evidence demonstrates Levy's position as an essential link
in the transmission of the music of their father, Johann Sebastian
Bach (1685-1750), and as a catalyst for the "Bach revival" of the
early nineteenth century, which was led by her great-nephew Felix
Mendelssohn. Sara Levy's World: Gender, Judaism, and the Bach
Tradition in Enlightenment Berlin represents the first scholarly
exploration of the cultural, political, and aesthetic contexts that
shaped Levy's world. Bringing together leading scholars from the
fields of musicology, Jewish Studies, history, literary studies,
gender studies, and philosophy, this volume presents cutting-edge,
multidisciplinary research on the numerous mutually reinforcing
aspects of Levy's life and work. Contributors: Rebecca Cypess,
Marjanne E. Goozé, Barbara Hahn, Martha B. Helfer, Natalie
Naimark-Goldberg, Elias Sacks, Yael Sela, Nancy Sinkoff, George B.
Stauffer, Christoph Wolff, Steven Zohn Rebecca Cypess is Associate
Professor of Music at Rutgers University. Nancy Sinkoff is
Associate Professor of Jewish Studies and History and Director
ofthe Center for European Studies at Rutgers University.
Johann Sebastian Bach was a Lutheran and much of his music was for
Lutheran liturgical worship. As these insightful essays in the
twelfth volume of Bach Perspectives demonstrate, he was also
influenced by--and in turn influenced--different expressions of
religious belief. The vocal music, especially the Christmas
Oratorio, owes much to medieval Catholic mysticism, and the
evolution of the B minor Mass has strong Catholic connections. In
Leipzig, Catholic and Lutheran congregations sang many of the same
vernacular hymns. Internal squabbles were rarely missing within
Lutheranism, for example Pietists' dislike of concerted church
music, especially if it employed specific dance forms. Also
investigated here are broader issues such as the close affinity
between Bach's cantata libretti and the hymns of Charles Wesley;
and Bach's music in the context of the Jewish Enlightenment as
shaped by Protestant Rationalism in Berlin. Contributors: Rebecca
Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey,
Derek Stauff, and Janice B. Stockigt.
New essays by noted authorities explore music and related arts in
early modern Italy, the concept of musical voice, the role of
singing in musical life, and the many ways of experiencing music.
This two-volume set explores the relationship between words and
music -- and the roles they play in culture and society -- from the
Renaissance through the nineteenth century. The first volume, Word,
Image, and Song: Essays onEarly Modern Italy, presents a broad
range of approaches to the study of music and related arts during
that era. Chapters are devoted to such topics as musical source
studies, issues of performance, poetry, and linguistics, influences
on music from the Classical tradition, and the interconnectedness
of music and visual art. Volume 2, Word, Image, and Song: Essays on
Musical Voices, takes the notion of musical voice as a starting
point and applies it in varying ways to diverse repertoires and
music-historical circumstances, ranging from the operas and
cantatas of Handel to the autograph albums of nineteenth-century
collector Charlotte de Rothschild. Essays in this volume present a
range of interpretive strategies with respect to the "voices" that
one might hear and understand as emerging from a musical work, from
the historical contexts of music, and from the reception of music
and musical ideaswithin societies. Rebecca Cypess is assistant
professor of music at the Mason Gross School of the Arts at
Rutgers, the State University of New Jersey. Beth L. Glixon is
instructor in musicology at the University of Kentucky School of
Music. Nathan Link is NEH Associate Professor of Music at Centre
College.
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