Poetry and Music in Seventeenth-Century England PDF Download
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Author: Diane Kelsey McColley
Publisher: Cambridge University Press
ISBN: 9780521593632
Category : Literary Criticism
Languages : en
Pages : 350
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Book Description
This study explores the relationship between the poetic language of Donne, Herbert, Milton and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings of analogous texts, and discusses the philosophy, performance, and disputed political and ecclesiastical implications of polyphony. She also enters into the discourse about the nature of language, relating poets' use of language and composers' use of music to larger questions concerning the arts, politics and theology.
Author: Diane Kelsey McColley
Publisher: Cambridge University Press
ISBN: 9780521593632
Category : Literary Criticism
Languages : en
Pages : 350
Get Book Here
Book Description
This study explores the relationship between the poetic language of Donne, Herbert, Milton and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings of analogous texts, and discusses the philosophy, performance, and disputed political and ecclesiastical implications of polyphony. She also enters into the discourse about the nature of language, relating poets' use of language and composers' use of music to larger questions concerning the arts, politics and theology.
Author: John Peter Rumrich
Publisher: W W Norton & Company Incorporated
ISBN: 9780393979985
Category : Poetry
Languages : en
Pages : 999
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Book Description
Twenty-nine poets writing from the 1603 ascension of James I, the first Stuart King, and the Restoration of the monarchy in 1660, are included in this Norton Critical Edition.
Author: Cassandra Gorman
Publisher: Boydell & Brewer
ISBN: 1843845938
Category : Literary Criticism
Languages : en
Pages : 271
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Book Description
An investigation into the remarkable "poetics of the atom" in English literary texts from the mid to late seventeenth century. The early modern "atom" - understood as an indivisible particle of matter - captured the poetic imagination in ways that extended far beyond the reception of Lucretius and Epicurean atomism. Contrarily to fears of atomisation and materialist threat, many poets and philosophers of the period sought positive, spiritual motivation in the concept of material indivisibility. This book traces the metaphysical import of these poetic atoms, teasing out an affinity between poetic and atomic forms in seventeenth-century texts. In the writings of Henry More, Thomas Traherne, Margaret Cavendish, Hester Pulter and Lucy Hutchinson, both atoms and poems were instrumental in acts of creating, ordering and reconstructing knowledge. Their poems emerge as exquisitely self-conscious atomic forms, producing intimate reflections on the creative power and indivisibility of self, soul and God. The book begins with a survey of the imaginative possibilities surrounding the early modern "atom", before considering the indivisible centres of the Cambridge Platonist Henry More's cosmic, Spenserian poetics. The focus then turns to the lyrical bond formed between atom and soul in the writings of Thomas Traherne, and from there, to the experimental sequences of Margaret Cavendish and Hester Pulter, whose poetic spaces create new worlds and imagine alternative lives. The book concludes with a study of Lucy Hutchinson's creation poem Order and Disorder, which anticipates the regeneration of fallen being in atomic and alchemical terms.
Author: Tim Carter
Publisher: Cambridge University Press
ISBN: 9780521792738
Category : Music
Languages : en
Pages : 636
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Book Description
First published in 2005, this title provides extensive knowledge on seventeenth-century music.
Author: Christopher Marsh
Publisher: Cambridge University Press
ISBN: 1107610249
Category : History
Languages : en
Pages : 625
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Book Description
Comprehensive, lavishly illustrated survey of English popular music during the early modern period. Accompanied by specially commissioned recordings.
Author: Seth Herbst
Publisher: Taylor & Francis
ISBN: 1000881547
Category : Literary Criticism
Languages : en
Pages : 124
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Book Description
Milton and Music is the first study to juxtapose John Milton’s poetry on music with later musical adaptations of his work. In Part I: Milton on Music, Seth Herbst shows that writing about music galvanized Milton’s intellectual development towards animist materialism, the belief that everything in the universe—even the human soul—is made of matter. The Milton who emerges is a forward-thinking visionary who leaped past his contemporaries in conceiving music as a material phenomenon that exists simultaneously as sound and metaphor. Part II: Milton in Music follows two daring composers in investigating whether Milton’s visionary concept of music can be realized in actual musical sound. In Samson, an oratorio adaptation of Milton’s Samson Agonistes, Handel resists Miltonic music theory, suggesting that music struggles to function as both sound and metaphor. By contrast, the twentieth-century Polish composer Krzysztof Penderecki composes an iconoclastic opera of Paradise Lost that develops a soundworld of fractured dissonance in which music acts as both sound and metaphor. Recovering Milton’s own high estimation of music from a critical tradition that has subordinated it to the poet’s political and religious convictions, Herbst reveals Milton as an interdisciplinary thinker and overlooked figure in the study of words and music. Driven by bold claims about the comparative treatment of literature and music, Milton and Music revises our understanding of what makes this canonical poet an intellectual revolutionary.
Author: Leslie C. Dunn
Publisher: Routledge
ISBN: 1317130472
Category : Literary Criticism
Languages : en
Pages : 287
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Book Description
Song offers a vital case study for examining the rich interplay of music, gender, and representation in the early modern period. This collection engages with the question of how gender informed song within particular textual, social, and spatial contexts in sixteenth- and seventeenth-century England. Bringing together ongoing work in musicology, literary studies, and film studies, it elaborates an interdisciplinary consideration of the embodied and gendered facets of song, and of song’s capacity to function as a powerful-and flexible-gendered signifier. The essays in this collection draw vivid attention to song as a situated textual and musical practice, and to the gendered processes and spaces of song's circulation and reception. In so doing, they interrogate the literary and cultural significance of song for early modern readers, performers, and audiences.
Author: Prof. Earl Miner
Publisher: Univ of California Press
ISBN: 0520331281
Category : Literary Criticism
Languages : en
Pages : 328
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Book Description
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1972.
Author: Tom Dixon
Publisher: Boydell & Brewer
ISBN: 178327767X
Category :
Languages : en
Pages : 366
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Book Description
During a period of tumultuous change in English political, religious and cultural life, music signified the unspeakable presence of the divine in the world for many. What was the role of music in the early modern subject's sensory experience of divinity? While the English intellectuals Peter Sterry (1613-72), Richard Roach (1662-1730), William Stukeley (1687-1765) and David Hartley (1705-57), have not been remembered for their 'musicking', this book explores how the musical reflections of these individuals expressed alternative and often uncustomary conceptions of God, the world, and the human psyche. Music is always potentially present in their discourse, emerging as a crucial form of mediation between states: exoteric and esoteric, material and spiritual, outer and inner, public and private, rational and mystical. Dixon shows how Sterry, Roach, Stukeley and Hartley's shared belief in truly universal salvation was articulated through a language of music, implying a feminising influence that set these male individuals apart from contemporaries who often strictly emphasised the rational-i.e. the supposedly masculine-aspects of religion. Musical discourse, instead, provided a link to a spiritual plane that brought these intellectuals closer to 'ultimate reality'. Theirs was a discourse firmly rooted in the real existence of contemporary musical practices, both in terms of the forms and styles implied in the writings under discussion and the physical circumstances in which these musical genres were created and performed. Through exploring ways in which the idea of music was employed in written transmission of elite ideas, this book challenges conventional classifications of a seventeenth-century 'Scientific Revolution' and an eighteenth-century 'Enlightenment', defending an alternative narrative of continuity and change across a number of scholarly disciplines, from seventeenth-century English intellectual history and theology, to musicology and the social history of music.
Author: Joseph M. Ortiz
Publisher: Routledge
ISBN: 1351799002
Category : Music
Languages : en
Pages : 302
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Book Description
John Taverner’s lectures on music constitute the only extant version of a complete university course in music in early modern England. Originally composed in 1611 in both English and Latin, they were delivered at Gresham College in London between 1611 and 1638, and it is likely that Taverner intended at some point to publish the lectures in the form of a music treatise. The lectures, which Taverner collectively titled De Ortu et Progressu Artis Musicæ ("On the Origin and Progress of the Art of Music"), represent a clear attempt to ground musical education in humanist study, particularly in Latin and Greek philology. Taverner’s reliance on classical and humanist writers attests to the durability of music’s association with rhetoric and philology, an approach to music that is too often assigned to early Tudor England. Taverner is also a noteworthy player in the seventeenth-century Protestant debates over music, explicitly defending music against Reformist polemicists who see music as an overly sensuous activity. In this first published edition of Taverner’s musical writings, Joseph M. Ortiz comprehensively introduces, edits, and annotates the text of the lectures, and an appendix contains the existing Latin version of Taverner’s text. By shedding light on a neglected figure in English Renaissance music history, this edition is a significant contribution to the study of musical thought in Renaissance England, humanism, Protestant Reformism, and the history of education.
