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"Singing."
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Editorial
In the dark times Will there also be singing? Yes, there will also be singing About the dark times. Bertolt Brecht, Motto (Willett and Manheim 1976: 320)
Journal Article
Tenor : history of a voice
John Potter begins by surveying the prehistory of the tenor in the medieval period, when Gregorian chant and early polyphony had implications for a voice-type, and proceeds to the sixteenth century, when singers were first identified as tenors. He focuses on many of the greatest tenors-- those who predated the gramophone as well as those whose recorded voices may still be heard--and considers the ways in which each is historically significant. The names range from legendary early figures like Ludwig Schnoor von Carolsfeld (Wagner's first Tristan) to those more familiar like Enrico Caruso, Richard Tauber, Mario Lanza, Roberto Alagna, Ian Bostridge, Andrea Bocelli, Il Divo, and, of course, Pavarotti, Domingo, and Carreras. Admirers of the tenor voice will especially appreciate the book's unique reference section, with bibliographical and discographical/video information on several hundred tenors.
Book
Society Pages: ESEH Notepad
Singing on the Submarine: Conference Review for ESEH 2019, 'Boundaries In/Of Environmental History', Tallinn
Journal Article
Singing the New Song
InSinging the New Song, Katherine Zieman examines the institutions and practices of the liturgy as central to changes in late medieval English understandings of the written word. Where previous studies have described how writing comes to supplant oral forms of communication or how it objectifies relations of power formerly transacted through ritual and ceremony, Zieman shifts the critical gaze to the ritual performance of written texts in the liturgy-effectively changing the focus from writing to reading. Beginning with a history of the elementary educational institution known to modern scholars as the \"song school,\" Zieman shows the continued centrality of liturgical and devotional texts to the earliest stages of literacy training and spiritual formation. Originally, these schools were created to provide liturgical training for literate adult performers who had already mastered the grammatical arts. From the late thirteenth century on, however, the attention and resources of both lay and clerical patrons came to be devoted specifically to young boys, centering on their function as choristers. Because choristers needed to be trained before they received instruction in grammar, the liturgical skills of reading and singing took on a different meaning. This shift in priorities, Zieman argues, is paradigmatic of broader cultural changes, in which increased interest in liturgical performance and varying definitions attached to \"reading and singing\" caused these practices to take on a life of their own, unyoked from their original institutional settings of monastery and cathedral. Unmoored from the context of the choral community, reading and singing developed into discrete, portable skills that could be put to use in a number of contexts, sacred and secular, Latin and vernacular. Ultimately, they would be carried into a wider public sphere, where they would be transformed into public modes of discourse appropriated by vernacular writers such as Geoffrey Chaucer and William Langland.
eBook
