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Iesous ahatonnia'

In the deep

In the Silence of the Night

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.

In the 1790s, the music of Gothic novels and plays was celebratory, calming rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort, and unease. This Element shows Melodrama brings about this change which had long-lasting effects on the music of the Gothic in fiction and poetry, on the stage and the screen.

The Music of the Gothic 1789–1820

"The first collection to show the full range of ways in which the Bible was mediated through both popular and elite music in nineteenth-century Britain"--

This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural history.

Scripture and Song in Nineteenth-Century Britain

Welsh Vocal Music: A Guide to Lyric Diction and Repertoire introduces readers to the vast vocal repertoire of Wales and provides them with the tools to accurately and confidently sing in the Welsh language.

Welsh Vocal Music: A Guide to Lyric Diction and Repertoire introduces readers to the vast vocal repertoire of Wales and provides them with the tools to accurately and confidently sing in the Welsh language.

A Guide to Lyric Diction and Repertoire

Welsh Vocal Music

Somehow not only for Christmas

Voice Junction

Beyond the Sea

The Pasture

Chicago Studies in Ethnomusicology

Instruments, Theories, Technologies

Sikh Kirtan and Its Journeys

Christmas Fantasy

Songbird

Author Derek L. Stauff offers a new look German Lutheran music of the 1620s and 1630s, showing how its composers carefully set biblical texts that resonated with the war and performed them in politically meaningful contexts. This book reveals to readers how their music became a representation of the Lutheran church, stoking fears about Catholic religious persecution, celebrating political alignments, critiquing controversial decrees, or lamenting the brutality of war.

This book takes a new look at sacred music written in present-day central Germany during the Thirty Years War (1618-48), and in doing so reveals distinct connections between religious works and the historical and political contexts in which they emerged. As author Derek L. Stauff asserts, specific Lutheran biblical motets and sacred concertos engage with the war's events, people, and politics in more detailed and meaningful ways than previously imagined. Composers working in Saxony, like Heinrich Schütz, Johann Hermann Schein, Tobias Michael, and Andreas Hammerschmidt, crafted these connections by deftly selecting biblical texts that specifically resonated with the war, by setting their texts in ways that amplify these resonances, and by performing this music in politically meaningful contexts. As a result, their music could take on a variety of war-related meanings: some pieces represent the Lutheran church and community, stoking fears about Catholic political aggression and religious persecution, warning Lutherans of the grave peril in which their church was foundering, and comforting believers with promises of God's protection. Other works celebrate contemporary political and military alignments, such as the Swedish-Saxon alliance (1631-35) and its victory at the Battle of Breitenfeld (1631), and close scrutiny of a few musical pieces reveals hidden or implicit critique of a controversial decree like the Edict of Restitution (1628) or of the excesses of Swedish troops. Stauff investigates the scriptural texts at the root of this repertoire, drawing on theological and devotional writings to show how early modern Lutherans connected these texts to the war and its political disputes. He also reconstructs the political contexts in which some works were performed or published; while his analyses focus chiefly on Saxony--especially Leipzig--they also remain relevant to other Lutheran regions of the Holy Roman Empire.

In a repertoire that might all too easily appear to uniformly preach peace and protest war, or to float timelessly in a liturgical space undisturbed by contemporary affairs, Stauff decisively shows how Lutheran composers actively reflected on and responded to the war, as well as the political and religious struggles underpinning it, through their sacred music.

Confession, Politics, Devotion

Lutheran Music and the Thirty Years War

for upper voices, SATB, and piano or chamber ensemble This vibrant nine-movement work unites upper- and mixed-voice choirs in a multi-faceted exploration of colour. A richly scored instrumental accompaniment, which may alternatively be performed by piano, helps to characterize each colour within the over-arching narrative of the value of your own self-expression.

The Rainbow

Iesous ahatonnia'

Bibliografische Angaben

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Bibliografische Angaben

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