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Embellishing the Liturgy
After the imposition of Gregorian chant upon most of Europe by the authority of the Carolingian kings and emperors in the eighth and ninth centuries, a large number of repertories arose in connection with the new chant and its liturgy. Of these repertories, the tropes, together with the sequences, represent the main creative activity of European musicians in the ninth, tenth, and eleventh centuries. Because they were not an absolutely official part of the liturgy, as was Gregorian chant, they reflect local traditions, particularly in terms of melody, and more so than the new pieces that were composed at the time. In addition, the earlier layers of tropes represent, in many cases, a survival of the pre local pre Gregorian melodic traditions. This volume provides an introduction to the study of tropes in the form of an extensive anthology of major studies and a comprehensive bibliography and constitutes a classic reference resource for the study of one of the most important musico-liturgical genres of the central middle ages.
Signs of Change
Signs of Change: Transformations of Christian Traditions and their Representation in the Arts, 1000–2000 focuses on the changing relationships between what gradually emerged as the Arts and Christianity, the latter term covering both a stream of ideas and its institutions. The book as a whole is addressed to a general academic audience concerned with issues of cultural history, while the individual essays are also intended as scholarly contributions within their own fields. A collaborative effort by twenty-five European and American scholars representing disciplines ranging from aesthetics to the history of art and architecture, from literature, music and the theatre to classics, church hi...
Sentimental Opera
Castelvecchi presents a critical re-evaluation of the operatic genre system and the cult of sensibility in the age of Mozart.
Liturgy and the Arts in the Middle Ages
This volume contains a collection of essays in honour of the late Professor of Comparative Literature, C Clifford Flanigan, who died suddenly in 1993 at the age of 52. The scholarship of this book constitutes an example of the interdisciplinary approach to the study of ecclesiastical history which is the aim of the newly established Centre for Christianity and the Arts at the Theological Faculty at the University of Copenhagen.
An Introduction to the Study of Medieval Latin Versification
Dag Norberg's analysis and interpretation of Medieval Latin versification, which was published in French in 1958 and remains the standard work on the subject, appears here for the first time in English with a detailed, scholarly introduction by Jan Ziolkowski that reviews the developments of the past fifty years.
Guillaume de Machaut and Reims
Table of contents
With Voice and Pen
Leo Treitler's seventeen classic essays trace the creation and spread of song (cantus), sacred and secular, through oral tradition and writing, in the European Middle Ages. The author examines songs in particular - their design, their qualities and character, their expressive meanings, and their adaptation to their communal and ritual roles - and explores the chances for, and the obstacles to, our understanding of traditions that were alive a thousand years ago. Ranging from c. 900 (when the written transmission of medieval songs began) to 1200, Treitler shows how the earlier, purely oral traditions can be examined only through the lens of what has been captured in writing, and focuses on the invention and uses of writing systems for representing these oral traditions. Each of these seminally influential essays has been revised to take account of recent developments, and is prefaced with a new introduction to highlight the historical issues. The accompanying CD contains performances of much of the music discussed.
Revolving Embrace
At the beginning of the 19th century the waltz brought men and women face-to-face, dancing tightly embraced and staring into each other's eyes, a position that provoked a great deal of anxiety in many circles: bishops of Austria signed decrees against waltzing, France banned it at court, and even Leo XII sought to suppress the waltz by papal decree. Nevertheless, composers wrote waltzes for the ballrooms, and the new bourgeoisie of Europe enjoyed the freedom and informality of the dance.The reception of the waltz as music was informed by 19th-century views on women. As a result, the waltz - both dance and music - acquired a distinctly gendered meaning. In Verdi's La Traviata, Puccini's La Bo...
