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Books on the topic 'Tropers. Tropes (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Caridad, Eva Castro. Tropos y troparios hispánicos. [Santiago de Compostela]: Universidad de Santiago de Compostela, Servicio de Publicacións e Intercambio Científico, 1991.

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2

Miquel S. Gros i Pujol. Els tropers prosers de la Catedral de Vic: Estudi i edició. Barcelona: Institut d'Estudis Catalans, 1999.

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3

A tradition of three tropes. Ottawa, Canada: Institute of Mediaeval Music, 1991.

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4

Falconer, Keith Andrew. Some early tropes to the Gloria. Ann Arbor, MI: UMI, 1989.

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5

Falconer, Keith Andrew. Some early tropes to the Gloria. Modena, Italia: Mucchi, 1993.

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6

Dennery, Annie. Le chant postgrégorien: Tropes, séquences et prosules. Paris: Champion, 1989.

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7

Dennery, Annie. Le chant postgrégorien: Tropes, séquences et prosules. Paris: Champion, 1989.

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8

Schier, Volker. Tropen zum Fest der Erscheinung des Herrn. Paderborn: Ferdinand Schöningh, 1996.

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9

Johnstone, John Gearey. The offertory trope: Origins, transmision, and function. Ann Arbor, MI: UMI, 1985.

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10

Schier, Volker. Tropen zum Weihnachtskreis in Bamberger Handschriften des 11. bis 15. Jahrhunderts. Bubenreuth: Hurricane, 1994.

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11

Gallen, Stiftsbibliothek Sankt, ed. Tropen zum Ordinarium missae in St. Gallen: Untersuchungen zu den Beständen in den Handschriften St. Gallen, Stiftsbibliothek 381, 484, 376, 378, 380 und 382. Bern: Lang, 2010.

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12

Hospenthal, Cristina. Tropen zum Ordinarium missae in St. Gallen: Untersuchungen zu den Beständen in den Handschriften St. Gallen, Stiftsbibliothek 381, 484, 376, 378, 380 und 382. Bern: Lang, 2010.

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13

Church, Catholic. Les prosules limousines de Wolfenbüttel: Édition critique des prosules de l'alleluia du manuscrit Wolfenbüttel, Herzog August Bibliothek Cod. Guelf. 79 Gud. lat. Stockholm: Almqvist & Wiksell, 1986.

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14

Chant and notation in South Italy and Rome before 1300. Burlington, VT: Ashgate Pub. Company, 2009.

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15

Leach, Mark Alan. The Gloria in excelsis Deo tropes of the Breme-Novalesa Community and the repertory in North and Central Italy. Ann Arbor, MI: UMI, 1986.

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16

Wydra, Wiesław. Dlaczego pod Grunwaldem śpiewano Bogurodzicę?: Trzy rozdziały o najdawniejszych polskich pieśniach religijnych. Poznań: Poznańskie Studia Polonistyczne, 2000.

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17

The jazz trope: A theory of African American literary and vernacular culture. Lanham, Md: Scarecrow Press, 2008.

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18

Hermes, Michael. Das Versicularium des Codex 381 der Stiftsbibliothek St. Gallen: Verse zu den Introitus- und den Communioantiphonen. St. Ottilien: EOS Verlag, 2000.

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19

Gallen, Stiftsbibliothek Sankt. Stiftsbibliothek Sankt Gallen codices 484 & 381. Winterthur: Amadeus, 1996.

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20

Transalpine Hintergründe der liturgischen Musikpraxis im mittelalterlichen Patriarchat Aquileia: Untersuchungen zu den Responsoriumstropen. Hildesheim: Olms, 2006.

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21

Sofer, Shabsi. Sidur. Bolṭimor, MD: Yeshivat Ner Yiśraʾel, 1987.

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22

Wibisono, Rodemptus Gunawan. Analisis nilai rente ekonomi sumberdaya hutan dalam pengelolaan hutan tropis di Indonesia: Studi kasus pada HPH Bumi Raya Utama Wood Industries dan HPH Kurnia Musi Plywood Industries di Sumatera Selatan. [Bogor]: Program Pascasarjana, Institut Pertanian Bogor, 1993.

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23

Laus Angelica: Poetry in the medieval mass. Turnhout, Belgium: Brepols, 2010.

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24

Evans, Paul. Early Trope Repertory of Saint Martial de Limoges. Princeton University Press, 2016.

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25

Evans, Paul. Early Trope Repertory of Saint Martial de Limoges. Princeton University Press, 2015.

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26

Evans, Paul. Early Trope Repertory of Saint Martial de Limoges. Princeton University Press, 2015.

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27

Ritva, Jacobsson, and Anderson Gordon Athol 1929-1981, eds. Pax et sapientia: Studies in text and music of liturgical tropes and sequences in memory of Gordon Anderson. Stockholm, Sweden: Almqvist & Wiksell International, 1986.

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28

Enrique, Planchart Alejandro, ed. Embellishing the liturgy: Tropes and polyphony. Aldershot, Hants, England: Ashgate, 2008.

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29

Wulf, Arlt, and Björkvall Gunilla, eds. Recherches nouvelles sur les tropes liturgiques. Stockholm: Distributed by Almqvist & Wiksell International, 1993.

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30

The Winchester Troper (Early English Church Music). Stainer & Bell Ltd, 2007.

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31

Burnim, Mellonnee. Tropes of Continuity and Disjuncture in the Globalization of Gospel Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.16.

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This chapter tracks the global circulation of gospel music, a movement enabled in part by the transnational record industry, noting in particular the ways some audiences in the African Diaspora receive and participate in the music in continuity with African American religious practice in the United States. A key interest is the way gospel music reflects religiosity and cultural experience and the transformations that can disrupt the link between these elements in global performances. The chapter traces performances and historical moments that show an encounter with the global in the careers of pioneering gospel performers, including Mahalia Jackson and Rosetta Tharpe. It then describes and analyzes the author’s experience as “performer and culture bearer” of gospel music in two transnational sites: collaborative performances in Malawi and Cuba. The author concludes that the comprehensive integrity of gospel music is presented most coherently when the music is mediated through the lens of both cultural and religious identity.
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32

Liturgische Tropen: Referate zweier Colloquien des Corpus Troporum in München (1983) und Canterbury (1984). München: Arbeo-Gesellschaft, 1985.

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33

Claudio, Leonardi, and Menestò Enrico, eds. La tradizione dei tropi liturgici: Atti dei convegni sui tropi liturgici : Parigi (15-19 ottobre 1985), Perugia (2-5 settembre 1987). Spoleto: Centro italiano di studi sull'alto medioevo, 1990.

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34

Hatten, Robert S. Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Indiana University Press, 2017.

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35

Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert. Indiana University Press, 2017.

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36

Avila, Jacqueline. Cinesonidos. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.001.0001.

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Cinesonidos: Film Music and National Identity During Mexico’s Época de Oro is the first book-length study concerning the function of music in the prominent genres structured by the Mexican film industry. Integrating primary source material with film music studies, sound studies, and Mexican film and cultural history, this project closely examines examples from five significant film genres that developed during the 1930s through 1950s. These genres include the prostitute melodrama, the fictional indigenista film (films on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the revolutionary melodrama, and the comedia ranchera (ranch comedy). The musics in these films helped create and accentuate the tropes and archetypes considered central to Mexican cultural nationalism. Distinct in narrative and structure, each genre exploits specific, at times contradictory, aspects of Mexicanidad—the cultural identity of the Mexican people—and, as such, employs different musics to concretize those constructions. Throughout this turbulent period, these tropes and archetypes mirrored changing perceptions of Mexicanidad manufactured by the state and popular and transnational culture. Several social and political agencies were heavily invested in creating a unified national identity to merge the previously fragmented populace owing to the Mexican Revolution (1910–ca.1920). The commercial medium of film became an important tool in acquainting a diverse urban audience with the nuances of national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity.
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37

Díaz, Juan Diego. Africanness in Action. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197549551.001.0001.

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This book discusses how musicians from Bahia, an emblematic African diasporic location in northeastern Brazil, think about, discuss, compose, rehearse, perform, and stage music inspired by what they perceive to be their own African ancestry. It argues that these musicians assert Afro-Brazilian identities and connect to the African continent and other diasporic places by creatively engaging essentialized notions about African music and culture: instead of mechanically reproducing these tropes, they emphasize them or downplay them. The book theorizes these preconceived notions about African music, culture, and performance as tropes of Africanness, emphasizing that they exist in two interrelated realms: as essentialist ideas in discourse and as concrete practices and sounds. Six commonly encountered tropes of African music are analyzed: the notions that its most important parameter is rhythm and that it is dominated by percussion; that it is meant to be danced to or deeply embodied rather than intellectualized; that it always touches on the sacred; that it is spontaneous and improvisatory; and that it reflects communalism rather than individualism. Through four case studies from Bahia (a jazz big band called Orkestra Rumpilezz, a symphony orchestra called the Orquestra Afrosinfônica, and two berimbau orchestras led by capoeira practitioners), the book demonstrates the nuances of musical creation in the African diaspora, acknowledging the genuine impact that essentialisms have on Bahian music while showing that they may not be an essential part of the musicians’ African roots.
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38

Metzinger, Joseph P. The liturgical function of the entrance song: An examination of the introits and introit tropes of the manuscript Piacenza, Archivio Capitolare, 65. 1993.

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39

Hospenthal, Cristina. Tropen Zum Ordinarium Missae in St. Gallen: Untersuchungen Zu Den Bestaenden in Den Handschriften St. Gallen, Stiftsbibliothek 381, 484, 376, 378, 380 Und 382. Lang AG International Academic Publishers, Peter, 2011.

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40

Interpreting Musical Gestures, Topics, And Tropes: Mozart, Beethoven, Schubert (Musical Meaning and Interpretation). Indiana University Press, 2004.

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41

Boe, John. Chant and Notation in South Italy and Rome Before 1300. Taylor & Francis Group, 2017.

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42

Festive Troped Masses from the Eleventh Century: Christmas and Easter in the Aquitaine (Explore America). A-R Editions, 1989.

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43

Tropes and Sequences in the Liturgy of the Church in Piacenza in the Twelfth Century: An Analysis and an Edition of the Texts (Texts and Studies in Religion, V. 92). Edwin Mellen Press, 2002.

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44

Bickford, Tyler. Inappropriate and Inarticulate. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0006.

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This chapter examines how interactions using music devices are part of a Ȝchildishȝ expressive tradition that is engaged primarily with the bureaucratic organization of language and communication in school. Music listening, despite being wordless, is an important part of children’s intimate expressive repertoires. I propose understanding these modes of music listening through reference to two master tropes of intimate peer expression in school: inappropriateness and inarticulateness. I consider several examples where music listening practices make clear reference to the bureaucratic context of school to argue that music consumption should be understood as intimately tied up with schooling. Identifying music listening as an element of these interactional and communicative frames grounds popular music listening and consumer culture in everyday expressive practices and provides a key perspective for linking bureaucratic networks of educational institutions to the emerging public presence of children in commercial culture through the everyday activities of children in school.
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45

Boe, John. Tropes of the Proper (Recent Researches in the Music of the Middle Ages and Early Renaissance, Vol 17 and 18). A-R Editions, 1994.

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46

Vernallis, Carol. Music Video’s Second Aesthetic? Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0016.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. MTV’s launch happened thirty years ago. Since then music video has undergone shifts in technologies and platforms, financial booms and busts, and changing levels of audience engagement. While music videos hit a low point at the start of the millennium, they have reemerged as a key driver of popular culture. This resurgence resembles MTV’s first moment: it’s again worth asking what music video can do and where it fits. A variety of styles, genres, and tropes marks both the eighties and today. The traditional definition of music video - a record-company product that puts images to a pop record in order to sell the song — has become too narrow. Instead we might describe music videos as containing heightened sound/image relations we recognize as such. Today's videos can reflect great technical proficiency. But in the eighties an attempt at an audiovisual connection often left a trace of the performers’ and director’s efforts. This gave videos a special charm. Today’s videos, however, may also reflect a full flowering of the genre. Many directors have labored in the industry and weathered its transitions: their experiences inform today’s music videos. This chapter looks at what this thirty-year history might add up to.
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47

Bassler, Samantha. Madness and Music as (Dis)ability in Early Modern England. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.46.

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Although disability has long been a subject of premodern historical, cultural, and literary studies, musicologists have not thoroughly investigated conceptions of disability in early music. This essay is intended to enrich understanding of how disability operated in the culture of early modern England and argues for Disability Studies as a useful tool for illuminating aspects of early modern English culture that might otherwise go unnoticed within traditional cultural analysis. It uses disability as a departure point for a more nuanced understanding of premodern culture in England, centering on case studies of music and madness and tropes of disability and gender. It argues that disability, while not understood as analogous to our modern conceptions of abnormality, was an important operational category in early modern English music and was often conflated with femininity, as evidenced in the plays of Shakespeare.
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48

Edwards, Leigh H. Country Music and Class. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.19.

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This chapter establishes how class is a key category of analysis for country music studies because the genre is still symbolically associated with a southern white working-class audience and milieu and shares much in common with long-running thematic traditions in country music, even though audiences have always been broader. Through case studies about Johnny Cash as well as about Dolly Parton and the hillbilly trope, the chapter demonstrates the importance of discussing class in relation to gender and race in the genre. Class themes in country music can be multivalent. The chapter also links class to the genre’s regional folk culture roots and details the relevance of the blurred, arbitrary categories of folk culture and mass culture to country music.
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49

Ridder, R. Todd. Musical and theological patterns involved in the transmission of mass chants for the five oldest Marian feasts: An examination of proper chants and tropes in a select group of medieval manuscripts. 1993.

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50

Boe, John. Beneventanum Troporum Corpus II: Ordinary Chants and Tropes for the Mass from Southern Italy, A.D. 1000-1250 : Preface Chants and Sanctus (Recent Researches in the Music of the Baroque Era,). A-R Editions, 1996.

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