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Sacred and Secular Intersections in Music of the Long Nineteenth Century
Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall explores interconnections of the sacred and the secular in music and aesthetic debates of the long nineteenth century. The essays in this volume view the category of the sacred not as a monolithic attribute that applies only to music written for and performed in a religious ritual. Rather, the “sacred” is viewed as a functional as well as a topical category that enhances the discourse of cross-pollination of musical vocabularies between sacred and secular compositions, church and concert music. Using a variety of methodological approaches, the contributors articulate how sacred and religious identities coalesce, reconcile, fuse, or intersect in works from the long nineteenth century that traverse an array of genres and compositional styles.
Music and Riddle Culture in the Renaissance
The culture of the enigmatic from Classical Antiquity to the Renaissance -- Devising musical riddles in the Renaissance -- The reception of the enigmatic in music theory -- Riddles visualised.
Where Sight Meets Sound
"The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. Composers sometimes asked singers to read the music in unusual ways-backwards, upside-down, or at a reduced speed-to produce sounds whose relationship to the written notes is anything but obvious. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informed-sometimes erroneously-ideas about the premodern era. By viewing notation as a complex technology that did more than record sound, the book revolutionizes the way we think about music's literate traditions"--
Parallel Computing is Everywhere
The most powerful computers work by harnessing the combined computational power of millions of processors, and exploiting the full potential of such large-scale systems is something which becomes more difficult with each succeeding generation of parallel computers. Alternative architectures and computer paradigms are increasingly being investigated in an attempt to address these difficulties. Added to this, the pervasive presence of heterogeneous and parallel devices in consumer products such as mobile phones, tablets, personal computers and servers also demands efficient programming environments and applications aimed at small-scale parallel systems as opposed to large-scale supercomputers....
Early Printed Music and Material Culture in Central and Western Europe
This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.
Das Wissenschaftliche der Kunst
Die Bedeutung Johann Nikolaus Forkels für die Musikwissenschaft ist nie in Frage gestellt worden. Bislang beschränkte sich die Forschung jedoch auf seine historiographischen Arbeiten und zeichnete damit ein Bild, das der universalen Physiognomie seines Musikerseins nicht gerecht wird. Als Akademischer Musikdirektor in Göttingen verfolgte Forkel das Ziel, die Musikwissenschaft durch die planvolle Verfeinerung ihrer Methoden den übrigen geisteswissenschaftlichen Disziplinen gleichrangig an die Seite zu stellen, verlor dabei aber niemals den Kontakt zur musikalisch-künstlerischen Praxis. Diese Studie entfaltet erstmals das imponierend breite Spektrum seines musikalischen Denkens und Handelns und stellt ihn als eine der originärsten und prägendsten Musikerpersönlichkeiten der Spätaufklärung vor.
Gewalt, Bedrohung, Krieg
English summary: Georg Friedrich Handels Judas Maccabaeus is one of the most significant English oratorios of the 18th century. Taking up a topos used in England since the 16th century identifying the British with the biblical people of Israel, Handel composed a number of biblical oratorios reflecting the political situation at the time. Through its association with the Duke of Cumberland, the Jacobite Rising or the struggle for cultural identity, Judas Maccabaeus is charged with political significance and thus a perfect example of the entanglements between religion and politics as depicted in oratorios. The authors examine the work from the perspective of their respective disciplines (music...
Krise der Ämter – Konnex der Akteure
Die Studie stellt die Musikpflege des 18. Jahrhunderts in Göttingen vor, einer mittleren Territorialstadt ohne Hof. Sie wertet umfassende Aktenkonvolute aus und berücksichtigt Elemente der Alltags- und Regionalgeschichte sowie Gedanken zur frühneuzeitlichen Streitkultur. Göttinger Musiker trugen durch ihre Verhaltensweisen zu einem Wandel der Ämter bei – divergierende Kommunikationsstrategien beeinflussten Vokationsprozesse, hierarchische Stellung und öffentliche Reputation. Durch die Universitätsgründung 1734 bedingte Ämterkumulationen und insbesondere die Einsetzung eines neuartigen Collegium musicum beschleunigten den Verfall tradierter Strukturen. Andererseits ermöglichte die...
Kantaten für Fürst und Kaiser
Antonio Caldara, Zeitgenosse Georg Friedrich Händels und Alessandro Scarlattis, hat wie diese ein reichhaltiges Œuvre auf dem Gebiet der weltlichen Kantate hinterlassen – das jedoch zu den noch weitgehend ungehobenen Schätzen der Musikwissenschaft wie der musikalischen Praxis zählt. Das Gros der über 350 Kantatenkompositionen entstand zwischen 1709 und 1716 in Rom, danach bis 1736 in Wien, hier für Fürst Francesco Maria Ruspoli, dort für Kaiser Karl VI. An beiden Orten verstand es Caldara bemerkenswert konzise, die je spezifischen Wünsche seiner Auftraggeber zu befriedigen. Der Band legt die Unterschiede der Kompositionstechnik, der Textgrundlage wie des soziokulturellen Rahmens, in dem die Werke entstanden, offen und macht dergestalt die musikalischen Anpassungen innerhalb des Kantatenschaffens erkennbar, als Caldara 1716 aus dem Dienst des neunobilitierten römischen Fürsten in jenen des zeremoniell völlig anders zu verortenden ehrwürdigen Kaiserhauses wechselte.
