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In this work, Karl Shuve provides a new account of how the Song of Songs became one of the most popular biblical texts in medieval Western Christianity, through a close and detailed study of its interpretation by late antique Latin theologians. It has often been presumed that early Latin writers exercised little influence on the medieval interpretation of the poem, since there are so few extant commentaries from the period. But this is to overlook the hundreds of citations of and allusions to the Song in the writings of influential figures such as Cyprian, Ambrose, Jerome, and Augustine as well as the lesser-known theologian Gregory of Elvira. Through a comprehensive analysis of these citations and allusions, Shuve argues that contrary to the expectations of many modern scholars, the Song of Songs was not a problematic text for early Christian theologians, but was a resource that they mined as they debated the nature of the church and of the virtuous life. The first part of the volume considers the use of the Song in the churches of Roman Africa and Spain, where bishops and theologians focused on images of enclosure and purity invoked in the poem. In the second part, the focus is late fourth-century Italy, where a new ascetic interpretation, concerned particularly with women's piety, began to emerge. This erotic poem gradually became embedded in the discursive traditions of Latin Late Antiquity, which were bequeathed to the Christian communities of early medieval Europe.
Sixty-one of the best songs of the rock era, all chosen from Rolling Stone magazine's 500 Greatest Songs of All Time list. The book covers 61 classic songs spanning 1954 to the late 1960s all arranged to include all important guitar parts and yet remain easily playable. Songs include: * 96 Tears * All Along the Watchtower * All I Have to Do Is Dream * Be-Bop-A-Lula * Blowin' in the Wind * Born to Be Wild * Both Sides, Now * The Boxer * Bye Bye Love * A Change Is Gonna Come * Dance to the Music * Don't Let Me Be Misunderstood * Eight Miles High * Everyday People * For What It's Worth * Gimme Some Lovin' * Gloria * God Only Knows * Great Balls of Fire * Heartbreak Hotel * Help! * Higher and Higher * Honky Tonk Women * Hound Dog * House of the Rising Sun * I Can See for Miles * I Got a Woman * I Got You Babe * I Want to Hold Your Hand * In the Midnight Hour * Jumpin' Jack Flash * The Letter * Like a Rolling Stone * Maybellene * Mr. Tambourine Man * Mustang Sally * My Generation * Mystery Train * Papa's Got a Brand New Bag * People Get Ready * Piece of My Heart * Ring of Fire * Rock Around the Clock * Runaway * Satisfaction * Soul Man * The Sound of Silence * Spoonful * Stand By Me * Subterranean Homesick Blues * Summertime Blues * Sunshine of Your Love * Sympathy for the Devil * That's All Right * Wake Up Little Susie * The Wanderer * The Weight * What'd I Say * White Room * A Whiter Shade of Pale * Whole Lotta Shakin' Goin On
Between 1893 and 1908, composer Arnold Schoenberg created many genuine masterworks in the genres of Lieder, chamber music and symphonic music. Here is the first full-scale account of Schoenberg's rich repertory of early tonal works. 139 music examples. 2 illustrations.
In The Song of Songs in the Early Middle Ages, Hannah W. Matis examines how the Song of Songs, the collection of Hebrew love poetry, was understood in the Latin West as an allegory of Christ and the church. This reading of the biblical text was passed down via the patristic tradition, established by the Venerable Bede, and promoted by the chief architects of the Carolingian reform. Throughout the ninth century, the Song of Songs became a text that Carolingian churchmen used to think about the nature of Christ and to conceptualize their own roles and duties within the church. This study examines the many different ways that the Song of Songs was read within its early medieval historical context.
The Bloomsbury Handbook of Music Production provides a detailed overview of current research on the production of mono and stereo recorded music. The handbook consists of 33 chapters, each written by leaders in the field of music production. Examining the technologies and places of music production as well the broad range of practices – organization, recording, desktop production, post-production and distribution – this edited collection looks at production as it has developed around the world. In addition, rather than isolating issues such as gender, race and sexuality in separate chapters, these points are threaded throughout the entire text.