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Author: Elizabeth Eva Leach
Publisher: Cornell University Press
ISBN: 1501727575
Category : Music
Languages : en
Pages : 362
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Book Description
Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others?Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.
Author: Elizabeth Eva Leach
Publisher: Cornell University Press
ISBN: 1501727575
Category : Music
Languages : en
Pages : 362
Get Book Here
Book Description
Is birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound was not music for medieval thinkers and then goes on to consider the ontology of music, the significance of comparisons between singers and birds, and the relationship between art and nature as enacted by the musical performance of late-medieval poetry. If birdsong was not music, how should we interpret the musical depiction of birdsong in human music-making? What does it tell us about the singers, their listeners, and the moral status of secular polyphony? Why was it the fourteenth century that saw the beginnings of this practice, continued to this day in the music of Messiaen and others?Leach explores medieval arguments about song, language, and rationality whose basic terms survive undiminished into the present. She considers not only lyrics that have their singers voice the songs or speech of birds but also those that represent other natural, nonmusical, sounds such as human cries or the barks of dogs. The dangerous sweetness of birdsong was invoked in discussions of musical ethics, which, because of the potential slippage between irrational beast and less rational woman in comparisons with rational human masculinity, depict women's singing as less than fully human. Leach's argument comes full circle with the advent of sound recording. This technological revolution-like its medieval equivalent, the invention of the music book-once again made the relationship between music and nature an acute preoccupation of Western culture.
Author: Aristophanes
Publisher:
ISBN:
Category :
Languages : en
Pages : 424
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Book Description
Author: Susan J. Tweit
Publisher: Simon and Schuster
ISBN: 1647420377
Category : Biography & Autobiography
Languages : en
Pages : 293
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Book Description
Writer Susan Tweit and her economist-turned-sculptor husband Richard Cabe had just settled into their version of a “good life” when Richard saw thousands of birds one day—harbingers of the brain cancer that would kill him two years later. This compelling and intimate memoir chronicles their journey into the end of his life, framed by their final trip together, a 4,000-mile-long delayed honeymoon road trip. As Susan and Richard navigate the unfamiliar territory of brain cancer treatment and learn a whole new vocabulary—craniotomies, adjuvant chemotherapy, and brain geography—they also develop new routines for a mindful existence, relying on each other and their connection to nature, including the real birds Richard enjoys watching. Their determination to walk hand in hand, with open hearts, results in profound and difficult adjustments in their roles. Bless the Birds is not a sad story. It is both prayer and love song, a guide to how to thrive in a world where all we hold dear seems to be eroding, whether simple civility and respect, our health and safety, or the Earth itself. It’s an exploration of living with love in a time of dying—whether personal or global—with humor, unflinching courage, and grace. And it is an invitation to choose to live in light of what we love, rather than what we fear.
Author: Aristophanes
Publisher:
ISBN:
Category :
Languages : en
Pages : 422
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Book Description
Author: Anna Zayaruznaya
Publisher: Cambridge University Press
ISBN: 1316194655
Category : Music
Languages : en
Pages : 321
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Book Description
Late medieval motet texts are brimming with chimeras, centaurs and other strange creatures. In The Monstrous New Art, Anna Zayaruznaya explores the musical ramifications of this menagerie in the works of composers Guillaume de Machaut, Philippe de Vitry, and their contemporaries. Aligning the larger forms of motets with the broad sacred and secular themes of their texts, Zayaruznaya shows how monstrous or hybrid exempla are musically sculpted by rhythmic and textural means. These divisive musical procedures point to the contradictory aspects not only of explicitly monstrous bodies, but of such apparently unified entities as the body politic, the courtly lady, and the Holy Trinity. Zayaruznaya casts a new light on medieval modes of musical representation, with profound implications for broader disciplinary narratives about the history of text-music relations, the emergence of musical unity, and the ontology of the musical work.
Author: Johann Wilhelm Süvern
Publisher:
ISBN:
Category :
Languages : en
Pages : 182
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Book Description
Author: Carrie Jacobs-Bond
Publisher:
ISBN:
Category :
Languages : en
Pages : 8
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Book Description
Author: Aristophanes
Publisher:
ISBN:
Category :
Languages : en
Pages : 680
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Book Description
Author: Phyllis M. Brown
Publisher: Xlibris Corporation
ISBN: 1669839877
Category : Juvenile Fiction
Languages : en
Pages : 25
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Book Description
The book is about a little girl who is very energetic and smart. She bonds with her grandmother during a trip to the park. I hope that this book is enjoyable and helps to make learning fun by playing a game. I want it to plant a seed in different areas of the young developing mind through word association with pictures. The hidden nuggets are healthy eating and exercise. Also, making a connection, building a relationship and making memories.
Author: Adeline Mueller
Publisher: University of Chicago Press
ISBN: 022678729X
Category : History
Languages : en
Pages : 303
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Book Description
The story of Wolfgang Amadeus Mozart’s precocity is so familiar as to be taken for granted. In scholarship and popular culture, Mozart the Wunderkind is often seen as belonging to a category of childhood all by himself. But treating the young composer as an anomaly risks minimizing his impact. In this book, Adeline Mueller examines how Mozart shaped the social and cultural reevaluation of childhood during the Austrian Enlightenment. Whether in a juvenile sonata printed with his age on the title page, a concerto for a father and daughter, a lullaby, a musical dice game, or a mass for the consecration of an orphanage church, Mozart’s music and persona transformed attitudes toward children’s agency, intellectual capacity, relationships with family and friends, political and economic value, work, school, and leisure time. Thousands of children across the Habsburg Monarchy were affected by the Salzburg prodigy and the idea he embodied: that childhood itself could be packaged, consumed, deployed, “performed”—in short, mediated—through music. This book builds upon a new understanding of the history of childhood as dynamic and reciprocal, rather than a mere projection or fantasy—as something mediated not just through texts, images, and objects but also through actions. Drawing on a range of evidence, from children’s periodicals to Habsburg court edicts and spurious Mozart prints, Mueller shows that while we need the history of childhood to help us understand Mozart, we also need Mozart to help us understand the history of childhood.
