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"Medieval documents reveal that for centuries of European history, singing for a person at the moment of death was considered to be the ideal accompaniment to a life's ending. Rituals for the dying were well developed, practiced widely, and thoroughly integrated with music. Indeed, these rituals reveal that music, rather than the Eucharist, held a privileged position at the final breath. Music in Medieval Rituals for the End of Life examines and recovers, to the extent possible, the music sung for the dying during the Middle Ages. The book offers a view of the plainchant repertory through the sources of individual institutions. The first four chapters contain a series of "case studies": close readings of rituals from diverse communities, each as they appear in a single source. The rituals' chants are transcribed into modern notation and analyzed, both for their relationships between text and melody and for their functions within the rituals. Created for the powerful and the poor, the educated and the uneducated, women and men, monastics, clerics, and laity, these manuscripts offer a glimpse into the religious practices that distinguished communities from one another and bound them together within a single tradition. The book provides the first editions of the rituals' chants and considers the functions of the music. Why was music given such a prominent position within the deathbed liturgies? Why did communities gather and sing when a loved one was dying? The manuscripts reveal a lost art of comforting the dying and the grieving"--
"Medieval documents reveal that for centuries of European history, singing for a person at the moment of death was considered to be the ideal accompaniment to a life's ending. Rituals for the dying were well developed, practiced widely, and thoroughly integrated with music. Indeed, these rituals reveal that music, rather than the Eucharist, held a privileged position at the final breath. Music in Medieval Rituals for the End of Life examines and recovers, to the extent possible, the music sung for the dying during the Middle Ages. The book offers a view of the plainchant repertory through the sources of individual institutions. The first four chapters contain a series of "case studies": close readings of rituals from diverse communities, each as they appear in a single source. The rituals' chants are transcribed into modern notation and analyzed, both for their relationships between text and melody and for their functions within the rituals. Created for the powerful and the poor, the educated and the uneducated, women and men, monastics, clerics, and laity, these manuscripts offer a glimpse into the religious practices that distinguished communities from one another and bound them together within a single tradition. The book provides the first editions of the rituals' chants and considers the functions of the music. Why was music given such a prominent position within the deathbed liturgies? Why did communities gather and sing when a loved one was dying? The manuscripts reveal a lost art of comforting the dying and the grieving"--
Juxtaposing and interlacing similarities and differences across and beyond the pre-modern Mediterranean world, Christian, Islamic and Jewish healing traditions, the collection highlights and nuances some of the recent critical advances in scholarship on death and disease.
Kristin Norget explores the practice and meanings of death rituals in poor urban neighborhoods on the outskirts of the southern Mexican city of Oaxaca. Drawing on her extensive fieldwork in Oaxaca City, Norget provides vivid descriptions of the Day of the Dead and other popular religious practices. She analyzes how the rites and beliefs associated with death shape and reflect poor Oaxacans' values and social identity. Norget also considers the intimate relationship that is perceived to exist between the living and the dead in Oaxacan popular culture. She argues that popular death rituals, which lie largely outside the sanctioned practices of the Catholic Church, establish and reinforce an ethical view of the world in which the dead remain with the living and in which the poor (as opposed to the privileged classes) do right by one another and their dead. For poor Oaxacans, these rituals affirm a set of social beliefs and practices, based on fairness, egalitarianism, and inclusiveness.
"The word "medieval" is often used in a negative way when talking about contemporary issues; Why the Middle Ages Matter refreshes our thinking about this historical era, and our own, by looking at some pressing concerns from today's world, asking how these issues were really handled in the medieval period, and showing why the past matters now. The contributors here cover topics such as torture, animal rights, marriage, sexuality, imprisonment, refugees, poverty and end of life care. They shed light on relations between Christians and Muslims and on political leadership. This collection challenges many negative stereotypes of medieval people, revealing a world from which, for instance, much could be learned about looking after the spiritual needs of the dying, and about integrating prisoners into the wider community with the emphasis on reconciliation between victim and criminal. It represents a new level of engagement with issues of social justice by medievalists and provides a highly engaging way into studying the middle ages for students"--
This book explores the notion that the emergent language of contemporary theatre, and more generally of modern culture, has links to much earlier forms of storytelling and an ancient worldview. This volume looks at our diverse and amalgamative theatrical inheritance and discusses various practitioners and companies whose work reflects and recapitulates ideas, approaches, and structures original to theatre’s ritual roots. Drawing together a range of topics and examples from the early Middle Ages to the modern day, Chadwick focuses in on a theatrical language which includes an emphasis on the psychosomatic, the non-linear, the symbolic, the liminal, the collective, and the sacred. This interdisciplinary work draws on approaches from the fields of anthropology, philosophy, historical and cognitive phenomenology, and neuroscience, making the case for the significance of historically responsive modes in theatre practice and more widely in our society and culture. Eleanor
In this richly illustrated volume, Paul Binski provides an absorbing account of the social, theological, and cultural issues involved in death and dying in Europe from the end of the Roman Empire to the early sixteenth century. He draws on textual, archaeological, and art historical sources to examine pagan and Christian attitudes toward the dead, the aesthetics of death and the body, burial ritual, and mortuary practice. Illustrated throughout with fascinating and sometimes disturbing images, Binski's account weaves together close readings of a variety of medieval thinkers. He discusses the impact of the Black Death on late medieval art and examines the development of the medieval tomb, showing the changing attitudes toward the commemoration of the dead between late antiquity and the late Middle Ages. In one chapter, Binski analyzes macabre themes in art and literature, including the Dance of Death, which reflect the medieval obsession with notions of humility, penitence, and the dangers of bodily corruption. In another, he studies the progress of the soul after death through the powerful descriptions of Heaven, Hell, and Purgatory in Dante and other writers and through portrayals of the Last Judgment and the Apocalypse in sculpture and large-scale painting.
A practicing music thanatologist provides an insider's history of this remarkable profession, which combines music, medicine, and spirituality to help the terminally ill and their families face the end of life. Reflecting on the author's experiences as a music-thanatologist, Jennifer Hollis's Music at the End of Life: Easing the Pain and Preparing the Passage is an enlightening and emotional examination of the ways in which the experience of dying can be transformed with music. Music at the End of Life highlights the unique role music has come to play in hospice and palliative medicine. Jennifer Hollis interweaves narrative memoir, the personal experiences of fellow music-thanatologists and caregivers, and extensive research to demonstrate the transformative power of music when curing is no longer an option. Through story after unforgettable story, Hollis offers a new vision of end-of-life care, in which music creates a beautiful space for the work of letting go, grieving, and saying goodbye.
This comprehensive study of the intersection of death and religion offers a unique look at how religious people approach death in the twenty-first century. Previous scholarship has largely focused on traditional beliefs and paid little attention to how religious traditions evolve in relation to their changing social context. Employing a sociological approach, "Death and Religion in a Changing World" describes how people from a wide variety of faiths draw on and adapt traditional beliefs and practices as they deal with death in modern societies. The book includes coverage of newly emerging social and religious phenomena that are only just beginning to be analyzed by religion scholars, such as public shrines, the role of the media, spiritual bereavement groups, and the use of the Internet in death practices.