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Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0195346505
Category : Music
Languages : en
Pages : 321
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Book Description
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0195346505
Category : Music
Languages : en
Pages : 321
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Book Description
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
Author: University of London Katharine Ellis Reader in Music Royal Holloway
Publisher: Oxford University Press, USA
ISBN: 0199710856
Category : Music
Languages : en
Pages : 322
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Book Description
This study of the French early music revival gives us a vivid sense of how music's cultural meanings were contested in the nineteenth century. It surveys the main patterns of revivalist activity while also providing in-depth studies of repertories stretching from Adam de la Halle to Rameau.
Author: Donna M. Di Grazia
Publisher: Routledge
ISBN: 1136294090
Category : Music
Languages : en
Pages : 543
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Book Description
Nineteenth-Century Choral Music is an in-depth examination of the rich repertoire of choral music and the cultural phenomenon of choral music making throughout the period. The book is divided into three main sections. The first details the attraction to choral singing and the ways it was linked to different parts of society, and to the role of choral voices in the two principal large-scale genres of the period: the symphony and opera. A second section highlights ten choral-orchestral masterworks that are a central part of the repertoire. The final section presents overview and focus chapters covering composers, repertoire (both small and larger works), and performance life in an historical context from over a dozen regions of the world: Britain and Ireland, the Czech Republic, France, Germany, Hungary, Italy, Latin America, the Philippines, Poland, Russia, Scandinavia and Finland, Spain, and the United States. This diverse collection of essays brings together the work of 25 authors, many of whom have devoted much of their scholarly lives to the composers and music discussed, giving the reader a lively and unique perspective on this significant part of nineteenth-century musical life.
Author: Paul Watt
Publisher: Oxford University Press
ISBN: 0197500684
Category : Music
Languages : en
Pages : 720
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Book Description
Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.
Author: Jane F. Fulcher
Publisher: Oxford University Press
ISBN: 0199711984
Category : Music
Languages : en
Pages : 605
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Book Description
As the field of Cultural History grows in prominence in the academic world, an understanding of the history of culture has become vital to scholars across disciplines. The Oxford Handbook of the New Cultural History of Music cultivates a return to the fundamental premises of cultural history in the cutting-edge work of musicologists concerned with cultural history and historians who deal with music. In this volume, noted academics from both of these disciplines illustrate the continuing endeavor of cultural history to grasp the realms of human experience, understanding, and communication as they are manifest or expressed symbolically through various layers of culture and in many forms of art. The Oxford Handbook of the New Cultural History of Music fosters and reflects a sustained dialogue about their shared goals and techniques, rejuvenating their work with new insights into the field itself.
Author: Colin Lawson
Publisher: Cambridge University Press
ISBN: 1316184420
Category : Music
Languages : en
Pages : 1066
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Book Description
The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
Author: Rachel Cowgill
Publisher: Boydell & Brewer
ISBN: 1843835673
Category : Music
Languages : en
Pages : 434
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Book Description
Opera, that most extravagant of the performing arts, is infused with the contexts of power-brokering and cultural display in which it was conceived and experienced. For individual operas such contexts have shifted over time and new meanings emerged, often quite remote from those intended by the original collaborators; but tracing this ideological dimension in a work's creation and reception enables us to understand its cultural and political role more clearly - sometimes conflicting with its status as art and sometimes enhancing it. This collection is a Festschrift in honour of Julian Rushton, one of the most distinguished opera scholars of his generation and highly regarded for his innovative studies of Gluck, Mozart and Berlioz, among many others. Colleagues, associates and former students pay tribute to his work with essays highlighting the interplay between opera, art and ideology across three centuries. Three broad themes are opened up from a variety of approaches: nationalism, cosmopolitanism and national opera; opera, class and the politics of enlightenment; and opera and otherness. British opera is represented by studies of Grabu, Purcell, Dibdin, Holst, Stanford and Britten, but the collection sustains a truly European perspective rounded out with essays on French opera funding, Bizet, Mozart, Mendelssohn, Verdi, Puccini, Janacek, Nielsen, Rimsky-Korsakov and Schreker. Several works receive some of their first extended discussion in English. RACHEL COWGILL is Professor of Musicology at Liverpool Hope University. DAVID COOPER is Professor of Music and Technology at the University of Leeds. CLIVE BROWN is Professor of Applied Musicology at the University of Leeds. Contributors: MARY K. HUNTER, CLIVE BROWN, PETER FRANKLIN, RALPH LOCKE, DOMINGOS DE MASCARENHAS, DAVID CHARLTON, KATHARINE ELLIS, BRYAN WHITE, PETER HOLMAN, RACHEL COWGILL, ROBERTA MONTEMORRA MARVIN, DAVID COOPER, RICHARD GREENE, J.P.E. HARPER-SCOTT, DANIEL GRIMLEY, STEPHEN MUIR, JOHN TYRRELL.
Author: Jane Alden
Publisher: Oxford University Press
ISBN: 0199700737
Category : Music
Languages : en
Pages :
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Book Description
A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.
Author: Katharine Ellis
Publisher: Oxford University Press
ISBN: 0197600166
Category : Music
Languages : en
Pages : 445
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Book Description
Explicitly or not, the historical musicology of post-Revolutionary France has focused on Paris as a proxy for the rest of the country. This distorting lens is the legacy of political and cultural struggle during the long nineteenth century, indicating a French Revolution unresolved both then and now. In light of the capital's power as the seat of a centralizing French state (which provincials found 'colonizing') and as a cosmopolitan musical crossroads of nineteenth-century Europe, the struggles inherent in creating sustainable musical cultures outside Paris, and in composing local and regionalist music, are ripe for analysis. Replacement of 'France' with Paris has encouraged normative history-writing articulated by the capital's opera and concert life. Regional practices have been ignored, disparaged or treated piecemeal. This book is a study of French musical centralization and its discontents during the period leading up to and beyond the "provincial awakening" of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so it redraws the historical map of musical power relations in mainland France. Based on work in over 70 archives, chapters on conservatoires, concert life, stage music, folk music and composition reveal how tensions of State and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different communities, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into "local color" for officials who perpetually feared national division. Control over composition on the one hand, and the emotional intensity of folk-based musical experience on the other, emerges as a matter of consistent official praxis. In terms of "French music" and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.
Author:
Publisher: BRILL
ISBN: 9004379487
Category : History
Languages : en
Pages : 445
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Book Description
In Musical Culture in the World of Adam de la Halle, contributors from musicology, literary studies, history, and art history provide an account of the works of 13th-century composer Adam de la Halle, one of the first named authors of medieval vernacular music for whom a complete works manuscript survives. The essays illuminate Adam’s generic transformations in polyphony, drama, debate poetry, and other genres, while also emphasizing his place in a large community of trouvères active in the bustling urban environment of Arras. Exploring issues of authorship and authority, tradition and innovation, the material contexts of his works, and his influence on later generations, this book provides the most complete and up-to-date picture available in English of Adam’s œuvre. Contributors are Alain Corbellari, Mark Everist, Anna Kathryn Grau, John Haines, Anne Ibos-Augé, Daniel E. O’Sullivan, Judith A. Peraino, Isabelle Ragnard, Jennifer Saltzstein, Alison Stones, Carol Symes, and Eliza Zingesser.
