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"Spring focuses on the lute in Britain, but also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters cover all aspects of the lute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instrument's early history, the lute in consort, lute song accompaniment, the theorbo, and the lute in Scotland."--Jacket.
For lovers of music and poetry the legendary figure of Orpheus probably suggests a romantic ideal. But for the Renaissance he is essentially a political figure. Mythographers interpreted the Orpheus story as an allegory of the birth of civilization because they recognized in the arts in which Orpheus excelled an instrument of social control so powerful that with it you could, as one writer put it, 'winne Cities and whole Countries'. Dealing with plays, poems, songs and the iconography of musical instruments, Robin Headlam Wells re-examines the myth, central to the Orpheus story, of the transforming power of music and poetry. Elizabethan Mythologies, first published in 1994, contains numerous illustrations from the period and will be of interest to scholars and students of Renaissance poetry, drama and music, and of the history of ideas.
This is the first in-depth study in any language exploring the vast cultural range of instrumental music during the Renaissance.
Where previous accounts of the Renaissance have not fully acknowledged the role that music played in this decisive period of cultural history, Laurenz Lütteken merges historical music analysis with the analysis of the other arts to provide a richer context for the emergence and evolution of creative cultures across civilizations. This fascinating panorama foregrounds music as a substantial component of the era and considers musical works and practices in a wider cultural-historical context. Among the topics surveyed are music's relationship to antiquity, the position of music within systems of the arts, the emergence of the concept of the musical work, as well as music's relationship to the theory and practice of painting, literature, and architecture. What becomes clear is that the Renaissance gave rise to many musical concepts and practices that persist to this day, whether the figure of the composer, musical institutions, and modes of musical writing and memory.
Produced in association with the Smithsonian and including images from The National Music Museum in South Dakota, Music: The Definitive Visual History guides readers through the progression of music since its prehistoric beginnings, discussing not just Western classical music, but music from all around the world. Telling the story of musical developments, era by era, linking musical theory, technology, and human genius into the narrative, Music: The Definitive Visual History profiles the lives of groundbreaking musicians from Mozart to Elvis, takes an in-depth look at the history and function of various instruments, and includes listening suggestions for each music style. Anyone with an interest in music will enjoy learning about the epic journey the art has taken over the years and will learn to appreciate music with a new ear.
With an A-Z of over 300 entries, Music in Shakespeare is the most comprehensive study of all the musical terms found in Shakespeare's complete works. It includes a definition of each musical term in its historical and theoretical context, and explores the diverse extent of musical imagery across the full range of Shakespeare's dramatic and poetic work, as well as analysing the usage of instruments and sound effects on the Shakespearean stage. This is a comprehensive reference guide for scholars and students with interests in the thematic and allegorical relevance of music in Shakespeare, and the history of performance. Identifying all musical terms found in the Shakespeare canon, it will also be of use to the growing number of directors and actors concerned with recovering the staging conditions of the early modern theatre.
Revised and expanded since it first appeared in 1991, the guide features two new chapters on ornamentation and rehearsal techniques, as well as updated reference materials, internet resources, and other new material made available only in the last decade. The guide is comprised of focused chapters on performance practice issues such as vocal and choral music; various types of ensembles; profiles of specific instruments; instrumentation; performance practice issues; theory; dance; regional profiles of Renaissance music; and guidelines for directors. The format addresses the widest possible audience for early music, including amateur and professional performers, musicologists, theorists, and educators.