The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon.
The Ordo Virtutum, Hildegard von Bingen's twelfth-century music-drama, is one of the first known examples of a large-scale composition by a named composer in the Western canon.
This book, first published in 1943, sets forth the history of the rise and development of the states of princely India from the end of the eighteenth century until the beginning of nineteenth.
This book, first published in 1943, sets forth the history of the rise and development of the states of princely India from the end of the eighteenth century until the beginning of nineteenth.
Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common.
Professionalisation was a key feature of the changing nature of work and society in the nineteenth century, with formal accreditation, registration and organisation becoming increasingly common.
As a book on allusion, this has interest for both the traditional literary or cultural historian and for the modern student of textuality and readership positions.
As a book on allusion, this has interest for both the traditional literary or cultural historian and for the modern student of textuality and readership positions.
The 1909 arrival of Serge de Diaghilev's Ballets Russes in Paris marked the beginning of some two decades of collaboration among litterateurs, painters, musicians, and choreographers, many not native to France.
The 1909 arrival of Serge de Diaghilev's Ballets Russes in Paris marked the beginning of some two decades of collaboration among litterateurs, painters, musicians, and choreographers, many not native to France.
Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philosophic or literary-Andrew Clark locates and examines an important epistemological shift both in Diderot's oeuvre and in the eighteenth century more generally.
Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philosophic or literary-Andrew Clark locates and examines an important epistemological shift both in Diderot's oeuvre and in the eighteenth century more generally.
This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love.
This book studies the ways Hardy writes about music, and argues that this focus allows for a close and varied investigation of the affective dimensions of his poetry and fiction, and his recurrent preoccupations with time, community and love.
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.
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.
Extending the critical discussion which has focused on the hymns of Isaac Watts as an influence on Emily Dickinson's poetry, this study brings to bear the hymnody of Dickinson's female forbears and contemporaries and considers Isaac Watts's position as a Dissenter for a fuller understanding of Dickinson's engagement with hymn culture.
Extending the critical discussion which has focused on the hymns of Isaac Watts as an influence on Emily Dickinson's poetry, this study brings to bear the hymnody of Dickinson's female forbears and contemporaries and considers Isaac Watts's position as a Dissenter for a fuller understanding of Dickinson's engagement with hymn culture.
By the late-sixteenth century, Augsburg was one of the largest cities of the Holy Roman Empire, boasting an active musical life involving the contributions of musicians like Jacobus de Kerle, Hans Leo Hassler, and Gregor Aichinger.
By the late-sixteenth century, Augsburg was one of the largest cities of the Holy Roman Empire, boasting an active musical life involving the contributions of musicians like Jacobus de Kerle, Hans Leo Hassler, and Gregor Aichinger.
Over the first four decades of the Reformation, hundreds of songs written in popular styles and set to well-known tunes appeared across the German territories.
Over the first four decades of the Reformation, hundreds of songs written in popular styles and set to well-known tunes appeared across the German territories.
Recent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers.
Recent scholarship has offered a veritable landslide of studies about early modern women, illuminating them as writers, thinkers, midwives, mothers, in convents, at home, and as rulers.
This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "e;long nineteenth century,"e; giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and JanA!
This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "e;long nineteenth century,"e; giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and JanA!
Juxtaposing artistic and musical representations of the emotions with medical, philosophical and scientific texts in Western culture between the Renaissance and the twentieth century, the essays collected in this volume explore the ways in which emotions have been variously conceived, configured, represented and harnessed in relation to broader discourses of control, excess and refinement.
Juxtaposing artistic and musical representations of the emotions with medical, philosophical and scientific texts in Western culture between the Renaissance and the twentieth century, the essays collected in this volume explore the ways in which emotions have been variously conceived, configured, represented and harnessed in relation to broader discourses of control, excess and refinement.
Shelley's Music: Fantasy, Authority and the Object Voice regards music images and allusions to music in Shelley's writing as evidence that Shelley sought to infuse the masculine word with the music of feminine expression.
Shelley's Music: Fantasy, Authority and the Object Voice regards music images and allusions to music in Shelley's writing as evidence that Shelley sought to infuse the masculine word with the music of feminine expression.
