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Bernhard Engelke T.
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The Renaissance in Rome
From the middle of the fifteenth century a distinctively Roman Renaissance occurred. A shared outlook, a persistent set of intellectual concerns, similar cultural assumptions and a commitment to common ideological aims bound Roman humanists and artists to a uniquely Roman world, different from Florence, Venice, and other Italian and European centers.This book provides the first comprehensive portrait of the Roman Renaissance world. Charles Stinger probes the basic attitudes, the underlying values and the core convictions that Rome's intellectuals and artists experienced, lived for, and believed in from Pope Eugenius IV's reign to the Eternal City in 1443 to the sacking of 1527. He demonstrat...
Performance Practice
Performance practice is the study of how music was performed over the centuries, both by its originators (the composers and performers who introduced the works) and, later, by revivalists. This first of its kind Dictionary offers entries on composers, musiciansperformers, technical terms, performance centers, musical instruments, and genres, all aimed at elucidating issues in performance practice. This A-Z guide will help students, scholars, and listeners understand how musical works were originally performed and subsequently changed over the centuries. Compiled by a leading scholar in the field, this work will serve as both a point-of-entry for beginners as well as a roadmap for advanced scholarship in the field.
Chorus and Community
Looks at choruses not only as a source of music, but as organizations that come together for aesthetic, social, political, and religious purposes. This volume discusses groups, including an East African chorus; groups from 19th century England, Germany, and America; early twentieth-century Russian Menonites; Soviet workers' clubs; and more.
Music in Medieval and Early Modern Europe
This volume consists of original papers first read at King's College, Cambridge, in 1979 at an international conference on medieval and Renaissance music. The contributors are distinguished in a wide variety of musicological interests but all are concerned in one way or another with pursuing the most urgent and promising directions for research in early music history. The result, far from being merely a further collection of essays applying well-tried approaches to familiar material, constantly seeks to expand the scope of musicology itself, and many of the contributions arc inter-disciplinary in method. The four main topics of the conference were carefully chosen, with some editorial control exercised for each session. This is reflected in four sections of closely related papers in the book. Two of these are concerned with the patronage of music: by the Church in fifteenth-century England, Italy and France, and in a broader context in Italy from 1450 to 1550. A group of essays on sixteenth-century instrumental music separates these, and the book concludes with five papers on theories of filiation as applied to music sources from the tenth to the sixteenth century.
Heaven Is My Fatherland
Michael Praetorius (1571–1621) was “one of the most versatile, wide-ranging, and prolific German composers of the seventeenth century,” “also important as a theorist,” and “the most often quoted and excerpted writer on performance practice.” 2021 marks the four hundredth anniversary of this Lutheran musician’s death and the four hundred and fiftieth anniversary of his birth. Yet until now, no biography of this multitalented and fascinating man has been made available in English. This translation of Siegfried Vogelsänger’s 2008 German biography of Praetorius will introduce you to Praetorius’s family and employers, his work as organist and court music director, his sacred ...
Lied und Medienwechsel im 16. Jahrhundert
Das Lied, eine der zentralen Gattungen in Musik und Literatur der frühen Neuzeit, wird in dieser Studie als das Produkt einer sich neu formierenden Informationsindustrie interpretiert. Vormals in Manuskriptform oder schriftlos kommuniziertes Genre wurde es seit dem späten 15. Jahrhundert in Form von Liedflugschriften, bald auch in Form gedruckter Musikbücher hergestellt und so zu einer marktregulierten, für den kommerziellen 'Massenvertrieb' hergestellten Ware. In Abgrenzung zu den Begrifflichkeiten 'Volkslied' und 'Tenorlied' und den darin aufgehobenen, überwiegend national und romantisch geprägten Forschungsparadigmen wird das Liedrepertoire des 16. Jahrhunderts hier als Ergebnis eines fundamentalen Medienwechsels aufgefasst. Nils Grosch ist Professor für Musikwissenschaft an der Universität Salzburg. Er ist Mitherausgeber von 'Populäre Kultur und Musik' und 'Veröffentlichungen der Kurt-Weill-Gesellschaft Dessau'. Seine Forschungsschwerpunkte sind Musik und Medien, Musik des 19. bis 21. Jahrhunderts und der frühen Neuzeit, Musik in Lateinamerika, Geschichte der Populären Musik, Populäres Musiktheater, Liedforschung, Jazz.
