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James Payne Profiles Sweden's Johan Celsing Martin Pearce On
BB17-1-Cover:Layout BB 10/09/2012 14:37 Page 3 B VOTE R FOR YOUR FAVOURITE SHORTLIST PROJECT I C K OVER 300 ENTRIES, OVER 80 SHORTLISTED PROJECTS AND ONLY 16 TROPHIES TO BE WON! B U L L IN AID OF E 2012 @ TH T SPONSORS -NOV 6 TH I 13TH N ARCHITECTS CHOICE AWARD NOVEMBERAUG 6 MARRIOTT GROSVENOR SQUARE HOTEL, LONDON ARCHITECTS CHOICEWWW.BRICK.ORG.UK AWARD AUGTH 6 -NOV 6 www.brick.org.uk/brick-awards/architects-choice-award/ James Payne profiles Sweden’s Johan Celsing WILL YOU BE Martin Pearce on Paul Bellot’s Quarr Abbey TH A WINNER? Königs Architects’ St Marien church in Schillig 2012 @ Hat Projects in Hastings, PRP Architects in London First person: David Kirkland of Kirkland Fraser Moor AUTUMN 2012 Expressive brick buttresses by Hild & K Architects BB17-2-Contents:Layout BB 10/09/2012 14:40 Page 2 2 • BB AUTUMN 2012 BB17-2-Contents:Layout BB 10/09/2012 14:40 Page 3 Brick Bulletin autumn 2012 contents Highs and lows 4 NEWS Left outside and unmaintained, Projects in Suffolk and The Hague; high performance cars and Brick Awards shortlist; First Person – yachts soon look rather forlorn, David Kirkland of Kirkland Fraser Moor. suggests David Kirkland, 6 PROJECTS drawing parallels between Page & Park, Henley Halebrown Rorrison, state-of-the-art components and Königs Architects, PRP Architects, Lincoln brick. Kirkland, whose practice Miles Architecture and Weston Williamson. emerged from a high-tech 14 PROFILE background, says working James Payne explores the expressive brick with brick has been a creative architecture of Johan Celsing. -
James Payne Profiles Sweden's Johan Celsing
BB17-1-Cover:Layout BB 10/09/2012 14:37 Page 3 B VOTE R FOR YOUR FAVOURITE SHORTLIST PROJECT I C K OVER 300 ENTRIES, OVER 80 SHORTLISTED PROJECTS AND ONLY 16 TROPHIES TO BE WON! B U L L IN AID OF E 2012 @ TH T SPONSORS -NOV 6 TH I N 13THARCHITECTS CHOICE AWARD NOVEMBERAUG 6 MARRIOTT GROSVENOR SQUARE HOTEL, LONDON ARCHITECTS CHOICEWWW.BRICK.ORG.UK AWARD AUGTH 6 -NOV 6 www.brick.org.uk/brick-awards/architects-choice-award/ James Payne profiles Sweden’s Johan Celsing WILL YOU BE Martin Pearce on Paul Bellot’s Quarr Abbey TH A WINNER? Königs Architects’ St Marien church in Schillig 2012 @ Hat Projects in Hastings, PRP Architects in London First person: David Kirkland of Kirkland Fraser Moor AUTUMN 2012 Expressive brick buttresses by Hild & K Architects BB17-2-Contents:Layout BB 10/09/2012 14:40 Page 2 2 • BB AUTUMN 2012 BB17-2-Contents:Layout BB 10/09/2012 14:40 Page 3 BRICK BULLETIN AUTUMN 2012 Contents Highs and lows 4 NEWS Left outside and unmaintained, Projects in Suffolk and The Hague; high performance cars and Brick Awards shortlist; First Person – yachts soon look rather forlorn, David Kirkland of Kirkland Fraser Moor. suggests David Kirkland, 6 PROJECTS drawing parallels between Page & Park, Henley Halebrown Rorrison, state-of-the-art components and Königs Architects, PRP Architects, Lincoln brick. Kirkland, whose practice Miles Architecture and Weston Williamson. emerged from a high-tech 14 PROFILE background, says working James Payne explores the expressive brick with brick has been a creative architecture of Johan Celsing. -
The Politics of Plainchant in Fin-De-Siècle France
The Politics of Plainchant in fin-de-siècle France This book tells three inter-related stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of the Benedictines of Solesmes to official dominance over Catholic editions of plainchant worldwide, a new optic on the French liturgical publishing industry during a period of international crisis for the publication of plainchant notation, and an exploration of how, both despite and because of official hostility, French Catholics could bend Republican anticlericalism at the highest level to their own ends. The narrative relates how Auguste Pécoul, a former French diplomat and Benedictine novice, masterminded an undercover campaign to aid the Gregorian agenda of the Solesmes monks via French government intervention at the Vatican. His vehicle: trades unionists from within the book industry, whom he mobilized into nationalist protest against Vatican attempts to enshrine a single, contested, and German, version of the musical text as canon law. Yet the political scheming necessitated by Pécoul’s double involvement with Solesmes and the print unions almost spun out of control as his Benedictine contacts struggled with internal division and anticlerical persecution. The results are as musicologically significant for the study of Solesmes as they are instructive for the study of Church–State relations. ROYAL MUSICAL ASSOCIATION MONOGRAPHS General Editor: Simon P. Keefe This series is supported by funds made available to the Royal Musical Association from the estate of Thurston Dart, former King Edward Professor of Music at the University of London. -
Caecilia V64n08 1937
Founded A .. D. 1874 by John Singenberger HENDRICK ANDRIESSEN Church Music Composer Dr. Alfons Kriessmann • THE MASS FOR UNISON CHORUS John L. Sedlacek • PITTSBURGH ADVANCES IN LITURGICAL MUSIC • HAS THE ELECTRIC ORGAN A PLACE IN CHURCH SERVICES? George Yates Myers 64 SEPTEMBER 1937 No. ORATE FRATRES A ReYiew Deyoted to the Liturgical Apostolate TS first purpose is to foster an intelligent and whole-hearted participation in I the liturgical life of the Church, which Pius X has called "the primary and indispensable source of the true Christian spirit." Secondarily it also considers the liturgy in its literary, artistic, musical, social,educatiQnaland historicalaspeets. From a Letter Signed By His Eminence Cardinal Gasparri ''The Holy Father is greatly pleased that St. John's Abbey is continuing the glorious tradition, and that there is emanating from this abbey an inspiration that tends to elevate the piety of the faithful by leading them back to the pure fountain of the sacred liturgy." Published every four weeks, beginning, with Advent, twelve issues the year. Forty-eight pages. Two dollars the year in the United States. Write for sample copy and descriptive leaflet. THE LITURGICAL PRESS Minnesota Jaeobs'~ Piano Folios A Veritable Treasure Store of Melodious Compositions for the Recreational Period 50 CENTS the volume POSTPAID Over 100 volumes, each containing 6 delightful lyric pieces -tuneful, interesting, and colorful-exclusively by American composers well known in the field of light music, classified as TONE-POEMS - REVERIES - BALLETS - NOVELETTES ORIENTAL - INDIAN - SPANISH - MARCHES GALOPS - WALTZES - ETC. Every Number An Original Copyright Found In No Other Collection Send for classified booklet of Contents and Thematics IP YOU ARE A PlANO TEACHER send your professional card for a GIFI' of great practical value. -
Caecilia V82n02 1955
~ IntI'. "j ------I --H- 5. -~-.--II-II-'r-.' : .. ~ G --Ircumdede-runt· me.- • gemi...tus mortis, do-lo- res Intr. G----f-..----------- ta-~1 t · =-. f!~. ~~ ~~ I. • .- t-~ € Xsurge, - qua-re obd6rmis D6mine? exsur- Intp. 1----+ 6. .• ~ • ., '-;;-~-,-,.-... IilI ~ A •• I•• ~ € -sto mlhi - in De- um pro- te-ct6- rem, et in VOLUME 82 - Number 2 JANUARY - FEBRUARY, 1955 thtRe\Jlem Ol=-cuthoacchuRCh d;smool,muSlc What the Critics Say: "Can you imagine a hymnal in which every single entry is completely acceptable on all grounds, musical and liturgical? I am not in the pay of the publisher when I urge every organist in the country to rush out and buy the new Pius X THE Hymnal ..." Paul Hume in The Sign. • "One can earnestly recommend this outstanding hymnal for the serious consideration of all choir PIUS Inasters looking for music of exceptional quality and worth." A. C.· B. in The Diapason. • "This collection is in every way superior to all our TENTH hymnals now in use". ]. W. E. in The Catholic Standard, Washington, D. C. • "The hymnal is rich in gems and choinnasters HYMNAL will find much to interest singers and to enrich their repertoire." J. V. H. in The Catholic Choirmaster. Edited, Arranged and Compiled • by the "The organist. and choir director will find in its 500 pages a rich treasure of music that blends, in PIUS TENTH SCHOOL the words of Cardinal Spelhnan, 'mind, heart and voice in adoration, praise and thanksgiving of to Almighty God and His wondrous works.'" Bartholomew Sales, aSB, in Worship. LITURGICAL MUSIC • Manhattanville College of the Sacred Heart "A rich anthology of true church music from all centuries". -
Allround Lenehan and the Art of the Remix
GENETIC JOYCE STUDIES – Issue 13 (Spring 2013) Allround Lenehan and the Art of the Remix Philip Keel Geheber When Frank O’Connor argued that Joyce created “not characters but personalities, and Joyce would never again be able to deal with characters, people whose identity is determined by their circumstances,”i he was half right. Most of Joyce’s characters in Ulysses are initially conceived in determinate relations with their circumstances; they are the products of the Dublin in which Joyce situates them. Then through the novel’s composition, as the textual play increasingly predominates, they begin to be “submerged” by Joyce’s irony and the text’s multivalent voices. The cumulative effect of different constituent parts of Ulysses supplying additional information and revising initial readings of characters, events, and the city itself is the primary way the text functions. Parallactic perspectives on the same event give the reader a new angle that changes the earlier interpretation based on one character’s sensations. Ulysses performs this same operation on a much more condensed scale as well. From Lenehan’s first appearance in Dubliners and then throughout Ulysses, looking at the way in which Joyce continually adds to the descriptions and speech of Lenehan is one way to witness how Joyce not only expands the latter text but also inserts additions that intentionally and implicitly cross-reference other parts of the book or even other texts. The encyclopedic expansion that Joyce’s development of styles and characters like Lenehan illustrates is the Joycean treatment of language and fiction as a web of interlinked ideas that coalesce to support or undermine each other. -
9781526120663.Pdf
Atkin 2 colours 30/4/03 4:54 pm Page 1 It is widely assumed that the French in the Cover illustration: A French soldier and two of his British Isles during the Second World War comrades, coming from Dunkirk, receive a snack THE were fully-fledged supporters of General after landing in Great Britain, 1940. Courtesy of Photos12.com – Oasis de Gaulle, and that across the channel at FORGOTTEN via free access least, the French were a ‘nation of THE ATKIN resisters’. This highly provocative study reveals that most exiles were on British FORGOTTEN FRENCH soil by chance rather than by design, and Exiles in the British Isles, 1940-44 many were not sure whether to stay. Nicholas Atkin - 9781526120663 FRENCH Overlooked by historians, who have Exiles in the British Isles, 1940-44 concentrated on the ‘Free French’ of de Gaulle, these were the ‘Forgotten French’: The forgotten French refugees swept off the beaches of Dunkirk; servicemen held in camps after the Franco-German armistice; Vichy consular officials left to cater for their compatriots; and a sizeable colonist community based Downloaded from manchesterhive.com at 09/28/2021 04:46:27AM mainly in London. This is a really interesting and important work, which will Drawing on little-known archival sources, this study examines the hopes and fears of be of interest to scholars of twentieth-century Britain and these communities who were bitterly France because it throws light on so many other issues. divided among themselves, some being attracted to Pétain as much as to de Dr Richard Vinen, King’s College, London Gaulle. -
Full in the Panting Heart of Rome': Roman Catholic Music in England: 1850-1962
Durham E-Theses `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962 Muir, Thomas Erskine How to cite: Muir, Thomas Erskine (2004) `Full in the panting heart of Rome': Roman Catholic music in England: 1850-1962, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2918/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 'Full in the panting heart of Rome': Roman Catholic Church Music in England: 1850-1962 Thomas Erskine Muir Ph.D Thesis. University of Durham. 2004. Abstract This thesis is the first in-depth study of music regularly heard by a community that grew fi-om 0.5 milHon to 3.72 million people between 1850 and 1962. The sheer quantity and variety of material is enormous; but much of it is rapidly disappearing, since the music is no longer in regular use. -
Sacred Music Volume 134, Number 2
SACRED MUSIC Fall 2007 Volume 134, Number 3 EDITORIAL Summorum Pontificum | William Mahrt 3 ARTICLES A Proposal to Reform the Role of the Cantor | Michael Lawrence 6 In Defense of Singing | Peter Phillips 9 How the Ward Method Works | Alise Brown 12 INTERVIEW One Rite, Two Forms | An Interview with Fr. Dennis Kolinski, S.J.C 16 REPERTORY Two Narrative Communions | William Mahrt 21 Extraordinary Masses for Ordinary Time | Michael Procter 24 ARCHIVE The Gregorian Religious Dance | Dom André Mocquereau 27 Concerning Hymns | Adrian Fortescue 30 DOCUMENTS Letter of His Holiness | Pope Benedict XVI 46 Summorum Pontificum | Pope Benedict XVI 49 The Font of Song Is Love| Pope Benedict XVI 55 COMMENTARY Beauty and the Roman Liturgy | Fr. Martin Fox 56 The Freedom to Love Our Heritage | Jeffrey Tucker 58 The Solesmes Copyright Condundrum | Jeffrey Tucker 61 REVIEW Guido the Great | Jeffrey Tucker 65 NEWS A Spectacular Success | Training Celebrants to Sing |The Pasley Jubilee 67 |New Resources at MusicaSacra.com LAST WORD Hymns, Propers, and the Mass | Kurt Poterack 70 EVENTS OF NOTE 72 SACRED MUSIC Formed as a continuation of Caecilia ,published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster , published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected] Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistant: Jane Errera Typesetting: Judy Thommesen Membership and Circulation: 12421 New Point Drive Harbour Cove Richmond, VA 23233 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President: William Mahrt Vice-President: Horst Buchholz Secretary: Rosemary Reninger Treasurer: William Stoops Chaplain: Rev. -
Views with Monks and Visitors and Analysis of the Rituals I Observed
Florida State University Libraries 2016 Performing Community: Benedictine Chant in Post-Vatican II Catholicism Brian Eric Wilcoxon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERFORMING COMMUNITY: BENEDICTINE CHANT IN POST-VATICAN II CATHOLICISM By BRIAN WILCOXON A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 © 2016 Brian Wilcoxon Brian Wilcoxon defended this dissertation on April 13, 2016. The members of the supervisory committee were: Charles E. Brewer Professor Directing Dissertation Joseph Hellweg University Representative Douglass Seaton Committee Member Frank Gunderson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS A work of this scope required the support, encouragement, and cooperation of many individuals. First and foremost, I would like to thank Charles E. Brewer who patiently guided me, pushed me when necessary, and recognized my potential despite my sometimes- elementary mistakes. I owe an enormous debt to Douglass Seaton, Frank Gunderson, and Joseph Hellweg, who edited and critiqued each sentence and idea of my manuscript. Any lingering errors of style or content are solely mine. I would also like to thank Denise Von Glahn, whose Fall 2011 doctoral seminar on musical institutions sparked my first interest in this topic. I hope that some part of my work lives up to her standard at being academically rigorous and broadly accessible.