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In Perfect Peace

Adam lay ybounden

Elements in Musical Theatre

This Element compares productions of Offenbach's Belle Hélène and Kálmán's Herzogin von Chicago, considering their choices regarding plot, text, performance style, music, and costumes and sets. In every case, there is some reinterpretation involved. Some versions tweak the original while others expand and alter it in a full Regietheater approach.

The Rebirth of Satire in Revivals of European Operettas

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

New Horizons

Tota pulchra es

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

Elements in Religion and Monotheism

What connects the phenomenon of music as an art with the belief in one indivisible God? What has music, a non-linguistic medium, to say about the personal, loving, communicative God of Scripture and the Prophets, or the omniscient, omnipotent, omnipresent, transcendent God of the Philosophers and can it bring these 'concepts of God' together? To answer these questions, this book takes divine Creation as its starting point, that the God of monotheism must be the Creator of all that is. It thus argues that anything which instantiates and facilitates communication within the created realm has been enabled to do so by a God who communicates with His Creation, and who wishes that His Creation be communicative. Indeed, it will argue that the communication allowed by music, and aesthetic experience in general, is the very raison d'être of Abrahamic monotheism and might thus allow an opportunity for dialogue between monotheistic faiths.

Music and Monotheism

Routledge Library Editions: Medieval Culture, Society, & Religion

Originally published in 1972, Medieval Song assembles the whole tradition of early European poetry, from the writings of the late Roman Empire to the time of the Hundred Years War. It covers a vast range of languages and cultures, beginning with the Latin of pagan song and ending with the Middle English ballads of Chaucer's time.

An Anthology of Hymns and Lyrics

Medieval Song

Repertoire for mixed voices to encourage connection and growth

Accessible and Beautiful

"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

Keep me as the apple of the eye

"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"--

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

In Perfect Peace

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