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Lighten our Darkness

Catholicism as Musical Discourse reveals the important role that French-language sacred songs, written primarily for women, played in the evolution of the Catholic Reform over the long seventeenth century. By singing sacred songs--called cantiques, spiritual or devotional airs--reformers believed that principles of Catholicism would be easier to learn, remember, and affect women's behavior. This book shows that various interpretations of Catholicism were not only transformed over time but also how and why. Most importantly, it demonstrates that sacred songs became a part of the Catholic Church's effort to mediate and shape the role of women in French society.

Catholicism as Musical Discourse reveals the important role that French-language sacred songs, written primarily for women, played in the evolution of the Catholic Reform over the long seventeenth century. Thought to be one of the best ways to facilitate a deeper spiritual experience and alter behavior, sacred songs became a part of the Catholic Church's effort to mediate and shape the role of women in French society. Whether contrafacta of secular songs or newly composed texts and music, sacred songs (cantiques, airs spirituel, or airs de dévotion) were non-liturgical and written primarily by clergymen. The songs gave voice to various, even contradictory, interpretations of Catholicism. Some texts were educational, some expressed a female religiosity focusing on love for Jesus and God, and some communicated Jansenist notions regarding sin and penitence. The intended public--women--determined the repertory's discursive properties: the messages communicated, language used, prescribed function(s), and musical features. 

Through an analysis of the musical repertory over time, Catholicism as Musical Discourse demonstrates how transformations within the church were linked to religious, political, and social and cultural trends, including the wars of religion, the fight against libertinism, Louis XIV's relationship with the church, the need to convert lay women to a life of piety, the condemnation of mysticism, the rise and fall of Jansenism, the need for female educational institutions, and an increasing public interest in connecting religious devotion with pleasurable entertainments. Although the songs' styles and lyrics changed over time, the power of music as one of the most important discursive modes of communication during the Catholic Reform remained the same.

The Reconversion of Women through Seventeenth-Century French Sacred Songs

Catholicism as Musical Discourse

In Perfect Peace

His eye is on the sparrow

Bird of Time

Bloomsbury Studies in Black Religion and Cultures

Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album 'The Jamaican Bible Remix' (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.

Handsworth Revolutions

Decolonizing Contemporary Gospel Music Through Praxis

Bloomsbury Research in Illustration Series

"A dynamic group of art historians explores intricacies of the most democratic form of visual imagery in the U.S., illustrated sheet music, owned by millions of Americans who were wooed by compelling lithographic covers, displayed the material culture in their parlors, and performed compositions on home pianos"--

Illustrated sheet music was one of the most democratic forms of visual imagery in the U.S., owned by millions of Americans wooed by compelling lithographic covers, who displayed and performed compositions on home pianos. Advancements in printing technologies in the 19th century, together with an emergent commercial system that facilitated the publication and broad distribution of popular music, led to a surge of elaborately illustrated sheet music. This book features essays by cutting-edge scholars who analyze the remarkable images that persuaded U.S. citizens to purchase mass-produced compositions for both personal and social pleasure. With some songs selling millions of copies as printed musical scores, music publishers commissioned artists to draw every conceivable subject as promotional illustrations, including genre scenes, portraits, political and historical events, sentimental allegories, flowers, landscapes, commercial buildings, and maritime views. As ubiquitous and democratic material culture, this imagery affected ordinary people in far greater ways than unique objects, like paintings and sculpture, possibly could. The pictures, many in saturated color with bold graphics, still intrigue, amaze, and amuse viewers today with their originality, skill, and content. Rooted in visual analysis, topics in this collection include perennially significant themes: race, ethnicity, gender, sexuality, class, politics, war, patriotism, propaganda, religion, transportation, regional centers of production, technology, Reconstruction, romance, and comedy, as well as bodies of work by specific illustrators and lithographic firms. In recognizing the role that individuals have played in preserving these remarkable objects, it also features interviews with enthusiasts who own two of the largest private collections of sheet music in the U.S.

Illustrated Sheet Music in the U.S., 1830-1930

Songbird

In the Silence of the Night

In the deep

New Horizons

Magnificat and Nunc Dimittis

Saint Thomas Service

Oxford Three-part Repertoire

Three songs on the power of listening and connection with original Hindi texts by Reena Bhansali

S&unāō

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

Lighten our Darkness

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