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Books on the topic 'Genres of modern sacred music'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Østrem, Eyolf. Medieval ritual and early modern music: The devotional practice of lauda singing in late-Renaissance Italy. Brepols, 2008.

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2

Modern noise, fluid genres: Popular music in Indonesia, 1997-2001. University of Wisconsin Press, 2008.

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3

King, Dennis. Art of modern rock mini. Chronicle Books, 2007.

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4

Catholic Church. A manual of liturgic chants in modern notation, and sacred melodies. [Brothers of Christian Instruction, 1994.

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5

Richard, Lana Turner. A modern day prodigal son. L.T. Richard, 2005.

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6

Humanism and the reform of sacred music in early modern England: John Merbecke the orator and The booke of common praier noted (1550). Ashgate, 2008.

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7

E, Gert͡sman. Grecheskie muzykalʹnye rukopisi Peterburga: Katalog. Glagol, 1996.

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8

Barendregt, Bart, Peter Keppy, and Henk Schulte Nordholt. Popular Music in Southeast Asia. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984035.

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From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at

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9

Marie, Kroeger, ed. An index to Anglo-American psalmody in modern critical editions. A-R Editions, 2000.

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10

Paskevska, Anna. Getting started in ballet: A parent's guide to dance education. Oxford University Press, 1997.

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11

Turrini, Fortunato. Manoscritti liturgici della Diocesi di Trento dal secolo XI: Catalogo-inventario. Vita trentina, 2001.

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Turrini, Fortunato. Manoscritti liturgici della Diocesi di Trento dal secolo XI: Catalogo-inventario. Vita trentina, 2001.

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13

Francesc Xavier Altés i Aguiló. Llibre vermell de Montserrat: Edició facsímil parcial del manuscrit núm. 1 de la Biblioteca de l'Abadia de Montserrat. Fundació Revista de Catalunya, 1989.

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14

Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: Storia e catalogo comparato. Edizioni ETS, 2002.

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15

Ricci, Massimo Masani. Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: Storia e catalogo comparato. ETS, 2002.

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16

Medieval Ritual And Early Modern Music: The Devotional Practice of Lauda Singing in Late-renaissance Italy (Ritus Et Artes) (Ritus Et Artes). Brepols Publishers, 2008.

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17

Staff, Hal Leonard Corp. Hillsong Modern Worship Hits. Leonard Corporation, Hal, 2016.

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18

Kim, Hyun-Ah. Humanism and the Reform of Sacred Music in Early Modern England. Routledge, 2016. http://dx.doi.org/10.4324/9781315587585.

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19

Revival and Reconciliation: Sacred Music in the Making of European Modernity. Rowman & Littlefield Publishers, Incorporated, 2012.

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20

King, Dennis. Art of Modern Rock Mini #1: A-Z. Chronicle Books, 2007.

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21

Wilcox, Helen. Sacred and Secular Love. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.35.

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This chapter explores early modern literary responses to one of the most fundamental issues in the Christian faith—the love of God for humankind, and its reception and reciprocation by individuals and communities. Textual explorations of sacred love, closely interlinked with writings about secular love, are drawn from the full chronological span of the volume, ranging from Richard Rolle in 1506 to Damaris Masham in 1696. The works discussed are from a wide variety of genres, including lyric poetry, devotional prose, prayers, sermons, and autobiographical writings. The subject of love is seen t

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22

Nothing but Love in God's Water : Volume 2: Black Sacred Music from Sit-Ins to Resurrection City. Penn State University Press, 2016.

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23

Mann, Joseph Arthur. Printed Musical Propaganda in Early Modern England. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979237.001.0001.

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Printed Musical Propaganda in Early Modern England exposes a relationship between music and propaganda that crossed generations and genres, revealing how consistently music, in theory and practice, was used as propaganda in a variety of printed genres that included or discussed music from the English Civil Wars through the reign of William and Mary. These bawdy broadside ballads, pamphlets paid for by Parliament, sermons advertising the Church of England’s love of music, catch-all music collections, music treatises addressed to monarchs, and masque and opera texts, when connected in a contextu

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24

Paskevska, Anna, and Maureen Janson. Getting Started in Ballet: A Parent's Guide to Dance Education. Oxford University Press, Incorporated, 2016.

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25

Getting Started in Ballet: A Parent's Guide to Dance Education. Oxford University Press, Incorporated, 2016.

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26

Uzendoski, Michael A., and Edith Felicia Calapucha-Tapuy. Cosmological Communitas in Contemporary Amazonian Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036569.003.0008.

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This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the social dynamics of the music and its relationship to Quichua cosmology and mythological thought. It argues that, although Runa Paju is a new, modern genre, it follows the same communicative and social assumptions of storytelling as traditional genres. Runa Paju brings into artistic contour the experiences of life's problems and experiences with a larger narrative of cosmological destiny. By target

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27

1947-, Santosuosso Alma Colk, Benedictines, and Bibliothèque nationale de France, eds. Paris, Bibliothèque nationale, fonds latin 10509. Institute of Mediaeval Music, 2003.

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28

Miles, Barry, and Charles Perry. I Want to Take You Higher: The Psychedelic Era: 1965-1969. Chronicle Books, 1997.

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29

James, Henke, Puterbaugh Parke, Perry Charles 1941-, Miles Barry 1943-, and Rock and Roll Hall of Fame and Museum., eds. I want to take you higher: The psychedelic era, 1965-1969. Chronicle Books in association with Sarah Lazin Books and Alexander Isley, Inc., 1997.

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30

Comentale, Edward P. From a Basement on Long Island to a Mansion on the Hill. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037399.003.0001.

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This introductory chapter tackles the central themes of this book, at the same time expounding on the author's own musical experiences—here termed “taste biography”—and his aims to expand the scope of this work from the personal to the national. It also discusses a “vernacular modernism” relating to the genres of music to be discussed in succeeding chapters—what according to author Miriam Hansen considers “the vast and varied aesthetic experience of modern life that, in its everydayness, sustained a vital forum of exchange and transformation for those otherwise excluded from traditional forms

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31

Shrock, Dennis. Choral Repertoire as Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.17.

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The study includes 1) a discussion of historical choral repertoire that was conceived with a main or substantial pedagogical intent and 2) a discussion of repertoire and programming that can be of beneficial value to choruses. The first part of the study represents and explores choral genres such as Gregorian chant, the Lutheran chorale, and the Baroque oratorio (both sacred and secular). It then moves on to modern-era compositions with didactic purposes, including works to promote nationalism but also an antiwar message. The second part of the study addresses choral programming for a) choral

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32

Daniel, Yvonne. Tourism, Globalization, and Caribbean Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0009.

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This chapter examines Caribbean dance in the context of tourism and globalization. In particular, it looks at the interaction between tourism enterprises and dance genres, dance artists, and island governments as well as its implications for cultural and economic globalization. After providing an overview of human and natural resources available on the Caribbean islands and how they have been developed toward tourism, the chapter discusses the integration of Caribbean dance and music making into regional development as aids to differing types of tourist planning. It then considers the globaliz

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33

Howland, John. Hearing Luxe Pop. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0009.

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This chapter examines the concept of the “luxe pop” production practices and their evolution over the last several decades. It traces the connection between modern luxe pop, 1970s symphonic soul, and 1920s symphonic jazz. Each case features the timbre of a lush string orchestra as a stand-in for highbrow or elevated culture, while the overlaid genres of jazz, soul, and hip-hop function as a symbol of lowbrow culture. This juxtaposition of black/white, lowbrow/highbrow, street/luxury functions as musical irony and subversive sarcasm. This chapter traces specifically the connection between Jay-Z

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34

Admussen, Nick. Genre Occludes the Creation of Genre. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.30.

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This chapter argues that one of the strongest influences on contemporary Chinese prose poetry is Bing Xin’s 1955 translation of Rabindranath Tagore’s poetry collectionGitanjali. By declining to reproduce the music of Tagore’s Bengali original, and suppressing the Biblical diction of his English version, Bing Xin created a version of his odes to the “religion of man” that implicitly opposes his insistence on poetry’s untranslatability. Instead, she argues that rejecting culturally specific prosodies allows her to faithfully reproduce the content of Tagore’s poetry. This paradigm exalts prose as

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35

Bluemel, Kristin, and Michael McCluskey, eds. Rural Modernity in Britain. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420952.001.0001.

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Rural Modernity in Britain argues that the rural areas of twentieth-century Britain were impacted by modernization just as much—if not more—than urban and suburban areas. It shifts the focus for studies of modernity and modernism onto the art, industries, and everyday life of rural people and places. In the early twentieth century, rural areas experienced economic depression, the expansion of transportation and communication networks, the roll out of electricity, the loss of land, and the erosion of local identities. Who celebrated these changes? Who resisted them? Who documented them? The fif

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36

Hindmarsh, D. Bruce. The Spirit of Early Evangelicalism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190616694.001.0001.

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The Spirit of Early Evangelicalism sheds new light on the nature of evangelical religion by locating its rise with reference to those consequential changes in Anglo-American society we now routinely acknowledge with the terms Modernity, the Scientific Revolution, and the Enlightenment. Bringing together a wide range of sources, the book makes meaningful connections between the Protestant evangelical awakening and the history of science, law, art, and literature in the eighteenth century. There was a profound turn toward nature and the authority of natural knowledge in each of these discourses

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37

Siwe, Thomas. Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.001.0001.

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A substantial body of musical literature for solo and ensemble percussion was created in the twentieth century. This book examines percussion literature’s evolution: how it came to be and the styles that composers embraced as they produced a large body of music for percussion instruments alone. The focus is on the music that was created, the various genres that arose, and the composers who contributed seminal works. The question is posed: What world and cultural events brought composers to reject the past and embrace modernism? The twentieth century is notable for its many technological advanc

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38

Alcorta, Candace S., and Richard Sosis. Ritual, Religion, and Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0038.

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This chapter, which discusses the association between religion and violence, also addresses why suicide terrorists are willing to offer their lives for their life-affirming religions. Religious violence and “sacred pain” have long been significant components in the mythology and ritual of Western religious traditions. Religious rituals differ widely across cultures. Music intensifies the ritual experience itself, transforming the ordinary into the extraordinary and laying the foundation for creation of the sacred. Religious ritual is an efficient tool for altering group cooperation and cohesio

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39

Melamed, Daniel R. The Musical Topic of the Mass in B Minor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0003.

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If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of

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40

Melamed, Daniel R. Listening to Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.001.0001.

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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral ari

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41

Bronner, Simon J., ed. Jewishness. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781904113454.001.0001.

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This book proposes that the idea of ‘Jewish’, or what people think of as ‘Jewishness’, is revealed in expressions of culture and applied in constructions of identity and representation. Part I considers how the kabbalistic red string found at sites throughout Israel conveys a political and psychological response to terrorism. It examines Jewish and non-Jewish narratives concerning a synagogue in eastern Europe and looks at expressions of cultural continuity in displaced persons camps in the aftermath of the Holocaust. It then discusses how Jewish folk music was presented as high art in early t

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