Sacred music is a universal phenomenon of humanity. Where there is faith, there is music to express it. Every major religious tradition and most minor ones have music and have it in abundance and variety. There is music to accompany ritual and music purely for devotion, music for large congregations and music for trained soloists, music that sets holy words and music without words at all. In some traditions—Islamic and many Native American, to name just two--the relation between music and religious ritual is so intimate that it is inaccurate to speak of the music accompanying the ritual. Rather, to perform the ritual is to sing, and to sing the ritual is to perform it. This second edition of Historical Dictionary of Sacred Music contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions. This book is an excellent access point for students, researchers, and anyone wanting to know more about sacred music.
Hélie Salomon’s Scientia artis musice (1274), is a practical manual devoted to basic concepts, psalmody, vocal pedagogy, the musical hand in singing, clefs as indicators of the tone (mode) to which a piece belongs, and practical instruction in the singing of four-voice parallel organum. Joseph Dyer presents the first, much-needed, modern edition of Salomon’s treatise, accompanied by a full English translation, comprehensive introduction and commentary. This edition corrects errors in the 1784 edition of Martin Gerbert, includes the music of chants omitted by Gerbert from the tonary, and makes available reproductions in colour of the eight illustrations in the treatise.
This groundbreaking study considers Italian Romanticism and the modern myth of Italy. Ranging across European and international borders, he examines the metaphors, facts, and fictions about Italy that were born in the Romantic age and continue to haunt the global literary imagination.
Once considered the largest and most extensive source of biographies in the English language, The Universal Dictionary of Biography and Mythology contains information on nearly every historical figure, notable name, and important subject of mythology from throughout the world prior to the 20th century. Spanning all fields of human effort-from literature and the arts to philosophy and science-and touching on topics from multiple areas of mythological study, including Norse, Greek, and Roman, this extraordinary reference guide continues to be one of the most thorough and accurate collections of biographical data ever created. Combining mythological and biographical entries into a single, comprehensive list, and incorporating a unique system of indicating pronunciation and orthography, The Universal Dictionary of Biography and Mythology offers readers an unparalleled record of historically significant identities, from the obscure and forgotten newsmakers of yesteryear to the highly celebrated shapers of history that remain influential today. Volume II (CLU-HYS) of this exquisite four-volume set includes information on such names as Clytemnestra, Constantine the Great, Charles Dickens, Stoic philosopher Euphrates, English author John Fox, Galileo, Hercules, and many more. JOSEPH THOMAS (1811-1891) also wrote A Comprehensive Medical Dictionary, various pronouncing vocabularies of biographical and geographical names, and a system of pronunciation for Lippincott's Pronouncing Gazetteer of the World.
Although often neglected, An Examination of the Philosophy of Bacon is crucial to understand the epistemological basis for Maistre's critique of modern science as well as his criticisms of other aspects of Enlightenment thought. Given Maistre's stature in the history of conservative thought, his critique of Bacon remains significant for what it tells us about Maistre's own thought, what it reveals about attitudes toward science in his time, and what it contributes to issues that are still debated today. The work also showcases Maistre's polemical skills and his powerful prose style. Richard Lebrun's annotated translation includes Maistre's complete text, an extensive introduction that places the work in context and provides a critical exposition and assessment of Maistre's criticisms of Bacon, biographical notes on persons cited or mentioned by Maistre, and a bibliography. Differences between Maistre's manuscript and the printed text, first published fifteen years after the author's death, are noted, and Maistre's numerous citations have been identified, verified, and translated, making this the only authoritative and fully accurate edition of the work in either French or English.
After two volumes mainly introductory, Dr Needham now embarks upon his systematic study of the development of the natural sciences in China. The Sciences of the Earth follow: geography and cartography, geology, seismology and mineralogy. Dr Needham distinguishes parallel traditions of scientific cartography and religious cosmography in East and West, discussing orbocentric wheel-maps, the origins of the rectangular grid system, sailing charts and relief maps, Chinese survey methods, and the impact of Renaissance cartography on the East. Finally-and here Dr Needham's work has no Western predecessors-there are full accounts of the Chinese contribution to geology and mineralogy.
During the Renaissance the nature of womankind was a major topic of debate. Numerous dialogues, defenses, paradoxes, and tributes devoted to sustaining woman's excellence were published, and in them history was rewritten to include the achievements of womankind. Often these texts demonstrate that women are capable of acting with prudence, temperance, fortitude, and justice, and thus are capable of being independent of male political and moral authority. Pamela Benson argues that the writers use literary means (genre, characterization, narrator, paradox, plot) to defeat the political challenge posed by female independence and to restrain women within a traditional role. The Invention of the Renaissance Woman is a study of the literary strategies used both to create the notion of the independent woman and to restrain her. Traditionally, the profeminism of most of these texts has not been taken seriously because their playful or extreme styles have been read as a sign that they were nothing but a game. Benson demonstrates that the flamboyant and frequently paradoxical style of these texts is the key to their successful profeminism. She defines the literary and conceptual differences between the Italian and English traditions and argues that two of the greatest literary works of the Renaissance, the Orlando furioso and The Faerie Queene, are major texts in the tradition of defense and praise of women. The Inventions of the Renaissance Women is the first substantial contextual discussion of the majority of the Italian texts and many of the English ones. Benson uses the insights of feminist theory and of cultural studies without subordinating the Renaissance texts to a modern political agenda. Among the authors discussed are Spenser, Boccaccio, Ariosto, Castiglione, Vespasiano da Bisticci, Thomas More, Thomas Elyot, Juan Luis Vives, Richard Hyrde, Jane Anger, and Henry Howard.
The dictionary of world literature: criticism-forms-technique presents a consideration of critics and criticism, of literary schools, movements, forms, and techniques-including drama and the theatre-in eastern and western lands from the earliest times; of literary and critical terms and ideas; with other material that may provide background of understanding to all who, as creator, critic, or receptor, approach a literary or theatrical work.
DIVDIVAn American opera singer travels to Naples and becomes embroiled in his strangest role yet/div Michael Ruane is an obscure American opera singer who arrives in Naples to play a small part in an important production of Tosca and star in his own staging of a little-known Benjamin Britten opera. The work comes at a particularly trying time, when he’s still raw with grief after his New York lover’s death from AIDS. As the productions get under way, Ruane is offered an unusual part: that of the “uncle from Rome” at a local wedding. According to tradition, the presence of the uncle from Rome at important events confers prestige on the family. However, Ruane is soon enmeshed in a drama that surpasses any role he has played on the stage.DIV The Uncle from Rome is a brilliant and colorfully imagined novel filled with theatrics of operatic proportions./div/div
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