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Bloomsbury Handbooks

The second edition of The Bloomsbury Handbook of Religion and Popular Music provides an updated, state-of-the-art analysis of the most important themes and concepts in the field, combining research in religious studies, theology, critical musicology, cultural analysis, and sociology. It comprises 30 updated essays and six new chapters covering the following areas: · Popular Music, Religion, and Performance · Musicological Perspectives · Popular Music and Religious Syncretism · Atheism and Popular Music · Industrial Music and Noise · K-pop The Handbook continues to provide a guide to methodology, key genres and popular music subcultures, as well as an extensive updated bibliography. It remains the essential tool for anyone with an interest in popular culture generally and religion and popular music in particular.

The Bloomsbury Handbook of Religion and Popular Music

Voice Junction

The Lake Isle of Innisfree

Elements in Musical Theatre

The Rebirth of Satire in Revivals of European Operettas

Essential Musicals

Boy Meets Boy to Jagged Little Pill

Queer Musicals

Iesous ahatonnia'

Christmas Child

Songbird

In the Silence of the Night

Fingernail Moon

Elements in the Gothic

Music plays an essential role in Gothic in the years 1789-1820, but it signifies very differently at the end of the period compared with the beginning. In the 1790s, the music of Gothic novels and plays is not Gothic music; it is celebratory, calming or transcendent rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort and unease. Melodrama brings about this change. Its ascendancy had long-lasting effects on the music of the Gothic more generally - in fiction and poetry, on the stage and the screen. The book considers work by writers including Ann Radcliffe, Matthew Lewis, Eliza Fenwick, Samuel Taylor Coleridge and James Boaden in conjunction with music by composers such as Michael Kelly, Stephen Storace and Samuel Arnold. Audio files of the music accompany the book.

The Music of the Gothic 1789–1820

"Described by one contemporary as the 'sweet singer of The Temple', George Herbert has long been recognised as a lover of music. Nevertheless, Herbert's own participation in seventeenth-century musical culture has yet to be examined in detail. This is the first extended critical study to situate Herbert's roles as priest, poet and musician in the context of the musico-poetic activities of members of his extended family, from the song culture surrounding William Herbert and Mary Sidney to the philosophy of his eldest brother Edward Herbert of Cherbury. It examines the secular 'visual music' of the Stuart court masque as well as the sacred songs of the church. Arguing that Herbert's reading of Augustine helped to shape his musical thought, it explores the tension between the abstract ideal of music and its practical performance to articulate the distinctive theological insights Herbert derived from the musical culture of his time"--

George Herbert and Early Modern Musical Culture

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Informations bibliographiques

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