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"Sacred vocal music 18th century History and criticism."
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Bach and the counterpoint of religion
Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.
eBook
Topicos musicales de escena y salon en el templo: Arrepentimiento, loor y exaltacion en las canciones religiosas de Pedro Ximénez
Se conoce poco de las prácticas musicales litúrgicas de las catedrales sudamericanas después de consolidada la independencia. En algunas ciudades, se llevó a cabo una singular adaptación de repertorios extra religiosos especialmente para actividades paralitúrgicas que permitían el uso de géneros musicales provenientes de espacios profanos y cuyos textos se escribían en lengua vernácula. Este artículo emplea la identificación de tópicos musícales en canciones escritas en lengua romance compuestas por Pedro Ximénez (1784-1856) presumiblemente para la catedral de Sucre, Bolivia, entre 1833 y 1856 para demostrar cómo se empleaban recursos sonoros provenientes del teatro y del salón en canciones de alabanza y exaltación por un lado; y lamentación y arrepentimiento por el otro, para el uso religioso. palabras clave: tópicos musicales, Pedro Ximénez Abrill, música sacra del siglo XIX, música religiosa no litúrgica, música en Sudaménca The liturgical music practices of South American cathedrals after the consolidation of independence remain unknown. In some cities, extrareligious repertoires were adapted, especially for paraliturgical activities that allowed the use of musical genres from secular spaces and whose texts were written in the vernacular. This article uses the identification of musical topics in songs written in the Romance language composed by Pedro Ximénez (1784-1856). presumably for the cathedral of Sucre, Bolivia, between 1833 and 1856. to demonstrate how sound resources from the theater and living room were used in songs of praise and exaltation on the one hand and lamentation and repentance on the other. keywords: musical topics, Pedro Ximénez Abrill, sacred music of the nineteenth century, nonliturgical religious music, music in South America
Journal Article
The Politics of Songs in Eighteenth-Century Britain, 1723-1795
Horgan analyses the importance of songs in British eighteenth-century culture with specific reference to their political meaning. Using an interdisciplinary methodology, combining the perspectives of literary studies and cultural history, the utilitarian power of songs emerges across four major case studies.
eBook
Bach Perspectives, Volume 12
Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.
eBook
Tópicos musicales de escena y salón en el templo
Se conoce poco de las prácticas musicales litúrgicas de las catedrales sudamericanas después de consolidada la independencia. En algunas ciudades, se llevó a cabo una singular adaptación de repertorios extra religiosos especialmente para actividades paralitúrgicas que permitían el uso de géneros musicales provenientes de espacios profanos y cuyos textos se escribían en lengua vernácula. Este artículo emplea la identificación de tópicos musicales en canciones escritas en lengua romance compuestas por Pedro Ximénez (1784–1856) presumiblemente para la catedral de Sucre, Bolivia, entre 1833 y 1856 para demostrar cómo se empleaban recursos sonoros provenientes del teatro y del salón en canciones de alabanza y exaltación por un lado; y lamentación y arrepentimiento por el otro, para el uso religioso.
The liturgical music practices of South American cathedrals after the consolidation of independence remain unknown. In some cities, extrareligious repertoires were adapted, especially for paraliturgical activities that allowed the use of musical genres from secular spaces and whose texts were written in the vernacular. This article uses the identification of musical topics in songs written in the Romance language composed by Pedro Ximénez (1784–1856), presumably for the cathedral of Sucre, Bolivia, between 1833 and 1856, to demonstrate how sound resources from the theater and living room were used in songs of praise and exaltation on the one hand and lamentation and repentance on the other.
Journal Article
Foretastes of heaven in lutheran church music tradition
In this current work, Foretastes of Heavenly Music: Johann Mattheson and Christoph Raupach on Music in Time and Eternity, Irwin provides translations and commentary for two eighteenth-century texts that illuminate the musico-theological foundation underlying the work of Lutheran composers such as Bach and Telemann.
eBook
Artistic Disobedience
In Artistic Disobedience Claudio Bacciagaluppi shows how music practice was an occasion for cross-confessional contacts in 17th- and 18th-century Switzerland, especially in Reformed private music societies (collegia musica).
eBook