DOCSLIB.ORG

The Psalms Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Psalms Experience Saturday, November 11, 2017, at 1:00 pm The Psalms Experience CONCERT 9 Security and Trust The Tallis Scholars Peter Phillips, Conductor Introduction by Esther J. Hamori, Associate Professor of Hebrew Bible, Union Theological Seminary This program is approximately one hour long and will be performed without intermission. (Program continued) The White Light Festival presentation of The Psalms Experience is supported by The Andrew W. Mellon Foundation. This program is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. James Memorial Chapel, Please make certain all your electronic devices Union Theological Seminary are switched off. WhiteLightFestival.org American Airlines is the Official Airline of Lincoln UPCOMING WHITE LIGHT FESTIVAL EVENTS: Center Saturday, November 11, at 3:00 pm in James Nespresso is the Official Coffee of Lincoln Center Memorial Chapel NewYork-Presbyterian is the Official Hospital of The Psalms Experience Lincoln Center Concert 10: Pilgrimage of Life Artist Catering provided by Zabar’s and Zabars.com Norwegian Soloists’ Choir Grete Pedersen , conductor Visit PsalmsExperience.org for full concert details. The Psalms Experience was created and Saturday, November 11, at 5:00 pm in James first produced by Tido Visser, managing Memorial Chapel director of the Netherlands Chamber The Psalms Experience Choir. Concert 11: Celebration of Life Netherlands Chamber Choir The Netherlands Chamber Choir was supported Peter Dijkstra , conductor by the Netherland-America Foundation for the Visit PsalmsExperience.org for full concert details. development of this project. Saturday, November 11, at 8:30 pm in Alice Tully Hall The Psalms Experience Concert 12: Consequences of Power The Tallis Scholars Peter Phillips , conductor With members of The Choir of Trinity Wall Street , Netherlands Chamber Choir , and Norwegian Soloists’ Choir Sunday, November 12 at 3:00 pm in David Geffen Hall Beethoven’s Missa solemnis Swedish Chamber Orchestra Thomas Dausgaard , conductor Swedish Radio Choir Peter Dijkstra , choral director Malin Christensson , soprano Kristina Hammarström , mezzo-soprano Michael Weinius , tenor Josef Wagner , bass BEETHOVEN: Mass in D major (“Missa solemnis”) Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse For tickets, call (212) 721-6500 or visit WhiteLightFestival.org. Call the Lincoln Center Info Request Line at (212) 875-5766 to learn about pro - gram cancellations or to request a White Light Festival brochure. Visit WhiteLightFestival.org for full festival listings. Join the conversation: #WhiteLightFestival We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members. In consideration of the performing artists and members of the audience, those who must leave before the end of the performance are asked to do so between pieces. The taking of photographs and the use of recording equipment are not allowed in the building. Security and Trust TIBURTIO MASSAINO Conserva me, Domine (Psalm 16) (before 1550–c. 1609) THOMAS RAVENSCROFT O God, that art my righteousness (Psalm 4) (1582/83–c. 1635) FERDINAND DI LASSO Sperate in Domino (Psalm 62) (1560–1609) MELCHIOR FRANCK Quantas ostendisti (Psalm 71) (c. 1579–1639) HERBERT HOWELLS One thing I have desired (Psalm 27) (1892–1983) MARCIN LEOPOLITA Mihi autem (Psalm 139) (1537–c. 1584) GIOVANNI CROCE Miserere mei (Psalm 51) (1557–1609) PAUL SCHOENFIELD Hateih hashem (Psalm 86) (b. 1947) CARLO GESUALDO Exaudi, Deus, deprecationem meam (Psalm 61) (1566–1613) ALEXANDER HOROLOGIUS Miserere mei, Deus (Psalm 57) (c. 1550–1633) CASPAR OTHMAYR Wer in dem Schutz des Höchsten ist (Psalm 91) (1515–1553) CARL NIELSEN Dominus regit me, from Three Motets, Op. 55, (1865–1931) No. 2 (Psalm 23) Please hold applause until the end of the performance. WhiteLightFestival.org The Book of Psalms aside, their ageless attraction abides in the universality of their appeal and teachings, and Its Musical transcending religious orientation, time, Interpretations and geography. By Neil W. Levin MUSICAL RECONSTRUCTION . From Common to the liturgies, histories, and musicological scholarship and Judaic spirit of Judaism and Christianity, the Book sources, we understand something about of Psalms is one of the most widely famil - psalmody—the manner of musical Psalm iar and frequently quoted books of the rendition—in the ancient Temple in Hebrew Bible. The Psalms are also basic to Jerusalem, including probable vocal range Western culture as literature. Their expres - and predominance of particular tones; syl - sion in musical notation spans more than labic versus melismatic articulation; ten centuries. Their unnotated musical tra - embellishment; type of choirs and perfor - ditions predate Christianity, extending to mance formats (responsorial, antiphonal, Jewish antiquity and the Temple eras etc.); and instrumental accompaniment. when the Psalter served in effect as the But this knowledge is academic and theo - Temple music manual and prayer book. retical rather than aesthetic or artistic. It cannot effectuate authentic Temple-era LITERARY and RELIGIOUS CONTENT . reproductions of Psalms vis-à-vis modali - Most current biblical scholarship places ties, pitches, melodic progressions, tim - the Psalms’ composition as well as unified bres, or precise rhythms. Similar limita - canonization substantially prior to the sec - tions apply to reasonable suppositions con - ond century BCE, by which time their pop - cerning early Church psalmody, in which ularity was well established. Their com - some musical practices may have been mon attribution to King David as a popular borrowed from Hebrew psalmody. Despite post-biblical tradition notwithstanding, it is various irresponsible claims over the years impossible to know the identity of the to have deciphered imagined encoded sys - Psalms’ author(s) or compiler(s). But we tems of musical information, all attempts can celebrate their uninterrupted en - to replicate Temple psalmody aurally are at durance through their embrace of a broad best naively romantic exercises in fantasy. spectrum of human experience and their perceived manifestations of a respectable Although ancient psalmody has not survived form of popular theology. intact in any synagogue music tradition, one hears presumed echoes in certain Sephardi Taken together, the Psalms express and Near Eastern repertoires. In some of human thirst for moral, ethical, and spiri - those, however, as in Ashkenazi practice tual grounding as well as the common inherited from Europe or expanded else - search for a guiding faith. Viewed from the - where, Psalm renditions have also acquired ological or even deist perspectives, they artificial meter through superimposed syl - encapsulate human pursuit of the Divine labic patterns or adaptations to secular essence. “In the Torah and the Prophets,” tunes. Rarely have modern composers wrote biblical scholar Nahum Sarna, “God employed perceived psalmodic features. reaches out to man. In the Psalms, human beings reach out to God. The language is THE PSALMS IN HEBREW and CHRIST - human.” Indeed, in their singular blend of IAN LITURGIES . The development of majestic grandeur, lofty sentiments, and Hebrew liturgy relied heavily on the poignant simplicity, the Psalms address Psalms, which provided an obvious founda - nearly every human emotion and mood. tion. They permeate the traditional prayer Judaic origin and Judeo-Christian associa tion books of every rite, and they infuse Reform worship as well. No other biblical book is so artistic perspectives, and eventually also directly, richly, or consistently represented. outside religious contexts altogether. Psalm Outside formally designated services, soci - composition in the 17th and 18th centuries eties of “Psalm reciters” are features of is intertwined with contemporaneous paths many fervently pious communities, such as of motet and anthem genres; English and one in contemporary Jerusalem whose two American anthems of that time both display distinct subgroups divide between them abundant reliance on Psalm texts. During the daily recitation of the entire Psalter at the 19th century, throughout the modern the Western Wall. era, and into the 21st century in both sacred and secular worlds, composers of nearly The Psalter also offered a wellspring of every stripe and orientation have engaged liturgical material for the nascent Church. the Psalms in expressions ranging from Latin translations are thought to have pre - large-scale choral and orchestral works to dominated its earliest services; eventually, art songs and a cappella choral settings— usage differed between Eastern and even in exclusively instrumental inspirations Western rites. Aside from a few extant such as solo organ sonatas or Krzysztof fragments, their musical notation survives Penderecki’s electronic Psalmus (1961). only from the ninth century on. There is no stylistic approach or treatment, no technical procedure (including 12-tone In the Roman, or Western Church, the con - serialization), no melodic, contrapuntal, or tinuum of unabridged Psalm singing is harmonic language—in short, no aspect of most conspicuous in the Office of Vespers, Western musical development—from though not exclusive to it. In the Mass and which the Psalms have escaped. other liturgies, however, Psalms became abbreviated or partially quoted.
Load more

Recommended publications
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Some Historical Perspectives on the Monteverdi Vespers
    CHAPTER V SOME HISTORICAL PERSPECTIVES ON THE MONTEVERDI VESPERS It is one of the paradoxes of musicological research that we generally be- come acquainted with a period, a repertoire, or a style through recognized masterworks that are tacitly or expressly assumed to be representative, Yet a masterpiece, by definition, is unrepresentative, unusual, and beyond the scope of ordinary musical activity. A more thorough and realistic knowledge of music history must come from a broader and deeper ac- quaintance with its constituent elements than is provided by a limited quan- tity of exceptional composers and works. Such an expansion of the range of our historical research has the advan- tage not only of enhancing our understanding of a given topic, but also of supplying the basis for comparison among those works and artists who have faded into obscurity and the few composers and masterpieces that have sur- vived to become the primary focus of our attention today. Only in relation to lesser efforts can we fully comprehend the qualities that raise the master- piece above the common level. Only by comparison can we learn to what degree the master composer has rooted his creation in contemporary cur- rents, or conversely, to what extent original ideas and techniques are re- sponsible for its special features. Similarly, it is only by means of broader investigations that we can detect what specific historical influence the mas- terwork has had upon contemporaries and younger colleagues, and thereby arrive at judgments about the historical significance of the master com- poser. Despite the obvious importance of systematic comparative studies, our comprehension of many a masterpiece stiIl derives mostly from the artifact itself, resulting inevitably in an incomplete and distorted perspective.
    [Show full text]
  • Gabrieli E Rosenmüller
    Venezia in Europa: Gabrieli e Rosenmüller Le stamperie musicali veneziane produssero, tra Cinquento 1 e Seicento, una enorme quantità di edizioni di musiche sacre e profane (non soltanto di compositori attivi a Venezia) che, insieme all’ampia circolazione di manoscritti, si diffusero rapidamente per tutta Europa, esportando lo stile italiano che si fece modello per più di una generazione di compositori e musicisti di Oltralpe. Questi, che spesso erano discepoli dei massimi maestri italiani, fecero proprî tali modelli elaborando a loro volta quello stile che conosciamo attraverso le opere dei musicisti inglesi che non di rado italianizzavano i loro nome 2, o di quelli tedeschi che componevano auff italiänische Inventinon 3. Si ricordano, tra i molti, Johann Jacob Froberger che fu allievo di Girolamo Frescobaldi, Marc-Antoine Charpentier che lo fu di Giacomo Carissimi o, prima di loro, Giovanni Gabrieli presso il quale compì gli studi musicali Heinrich Schütz (alias Henricus Sagittarius ). Soprattutto coi Paesi di area germanica Venezia aveva relazioni culturali molto intense, per i viaggi frequenti dei musici che nella capitale della Repubblica si recavano per studiare ritornando poi in patria, e per le musiche che circolavano attraverso la stampa. Proprio Giovanni Gabrieli fu figura di primissimo piano nella vita musicale veneziana ed europea: primo organista della Repubblica Serenissima di Venezia in san Marco , Gabrieli era conosciuto nei Paesi di lingua tedesca, oltre che per la sua fama, per le sue Sacræ Symphoniæ che nel 1598 l’editore Kauffmann pubblicò a Norimberga un anno dopo la prima edizione veneziana. La sua frenetica attività professionale, che lo impegnava in numerose chiese e istituzioni veneziane, comprendeva anche l’editoria: fu lui a curare le numerose pubblicazioni di musiche dello zio Andrea nonché le proprie.
    [Show full text]
  • Words Matter Dec
    Words Matter Dec. 7 & 8, 2019 Verbum caro factum est Hans L. Hassler (1564-1612) Dadme Albricias Anon. 16th-century Michele Yurecko, Matthew Shurts Dixit Maria Hassler Ave Regina Caelorum Isabella Leonarda (1620-1704) Sarah Thomson, Beth Shirley, Joe Keefe They said… (from the sayings of our Forefathers) Yehezkel Braun (1922-2014) Sections I – IV Lisa Berger, Nancy Watson-Baker Work NJ Premiere Melissa Dunphy (b. 1980) Os justi Anton Bruckner (1824-1896) In the Beginning was the Word World Premiere Sarah Rimkus (b. 1990) Verbum caro factum est Giovanni Croce (1557-1609) Laura Quinn, Emilie Bishop, PJ Livesey Verbum caro factum est Paul Halley (b. 1952) Antiphonal Choir*, Kathy Earle The Word was God Rosephanye Powell (b. 1962) Gracias a la Vida Violeta Parra (1917-1967) Claudia Sydenstricker arr. Willi Zwozdesky INTERMISSION Verbum caro factum est John Sheppard (1515-1558) Das Wort ward Fleisch Heinrich Schütz (1585-1672) Words Anders Edenroth (b. 1963) CHAMBER SINGERS Lineage women Andrea Ramsey Let Us Carry Out That Dream men Steven Sametz (b. 1954) United in Song audience Mari E. Valverde (b. 1987) Mercedes Pescevich Fantasia on Christmas Carols Ralph Vaughan Williams (1872-1958) Holland Jancaitis The Children of All Others World Premiere Mark A. Miller (b. 1967) *Antiphonal Choir S: Kathy Earle, Mickey McGrath, Jamie Vergara A: Alyssa Casazza, Catie Gilhuley, Jenna Miller T: Nick Herrick, Will Roper B: Dan Malloy, Ben Schroeder Instrumentalists Piano: Helen Raymaker Organ: Chris Hatcher Cello: Michael Holak Recorders: Mariam Bora, John Lamb, Susan Pilshaw, David Thomson Handbells: Mariam Bora, Jamie Bunce, Linda Clark, Lauren Goldman Percussion: Joe Keefe, Charlie Love, Ben Schroeder “Words constitute the ultimate texture and stuff of our moral being, since they are the most refined and delicate and detailed, as well as the most universally used and understood, of the symbolisms whereby we express ourselves into existence.
    [Show full text]
  • Curriculum Vitae
    1 Jeffrey G. Kurtzman Department of Music Washington University Curriculum Vitae 1. Personal Citizenship: U.S.A. Marital status: married, Kathi Kurtzman, pianist and piano teacher Children: Kenneth, Suzanne Juliet Business address: Department of Music, Campus Box 1032, Washington University, St. Louis, Missouri 63130 Home address: 7605 Balson Ave., St. Louis, Missouri 63130-2150 Office phone: (314) 935-5524 Home phone: (314) 862-5354 2. Education 1965-1968 University of Illinois: Ph.D. in Musicology, 1972 M.M. in Musicology, 1967 Dissertation: "The Monteverdi Vespers of 1610 and their Relationship with Italian Sacred Music of the Early Seventeenth Century" Master's Thesis: "The Development of the Isorhythmic Motet in Fourteenth-Century France" 1964-1965 Washington State University 1963-1964 University of Illinois Summer 1963 Aspen Music School, study with Rosina Lhevinne 1958-1963 University of Colorado: B.M. in Piano Performance, 1963 3. Record of Employment 1986- Washington University, Professor of Music 1984-1986 Rice University, Co-Director of Student Advising 1982-1986 Rice University, Professor of Music 1979-1984 Rice University, Master of Baker College 1978-1982 Rice University, Associate Professor of Music 1975-1978 Rice University, Assistant Professor of Music 1972-1975 Middlebury College, Assistant Professor of Music 1969-1972 Middlebury College, Instructor in Music 1968-1969 Cornell University, Visiting Lecturer in Music 4. University Administrative Experience Washington University Chairman of Department of Music, 1986-1993
    [Show full text]
  • Lent V, in Which Jesus “Hid Himself” from the People (Jesus Autem Abscondebat Se)
    THE PARISH OF ST. VINCENT FERRER AND T ATHERINE OF IENA S . C S The Very Reverend Walter C. Wagner, O.P., Pastor James D. Wetzel, Director of Music and Organist FIFTH SUNDAY OF LENT FIRST SUNDAY OF PASSIONTIDE March 21, 2021 12 NOON Solemn Mass with Third Scrutiny of the Elect The setting of the Mass Ordinary is Missa Quando lieta sperai by Andrea Gabrieli (c. 1532-1585). INTRODUCTORY RITES ENTRANCE ANTIPHON (OFFICIUM) Psalm 42 (43):1, 2 Chant, mode iii Judica me, Deus, Judge me, O God, et discerne causam meam and distinguish my cause de gente non sancta: from the unholy nation. ab homine iniquo et doloso eripe me: From the unjust and deceitful man deliver me, quia tu es Deus meus, et fortituto mea. for you are my God and my strength. V. Emitte lucem tuam et veritatem tuam: V. Send forth your light and your truth; ipsa me deduxerunt they have conducted me, et adduxerunt in montem sanctum tuum, and brought me to your holy hill, et in tabernacula tua. and into your tabernacles. SIGN OF THE CROSS AND GREETING PENITENTIAL RITE KYRIE COLLECT Grant, O Lord, to these chosen ones that, instructed in the holy mysteries, they may receive new life at the font of Baptism and be numbered among the members of your Church. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, God, for ever and ever. Amen. 2 LITURGY OF THE WORD FIRST READING Ezekiel 37:12-14 Thus says the Lord God: O my people, I will open your graves and have you rise from them, and bring you back to the land of Israel.
    [Show full text]
  • Musico Perfetto Concerto Per Gioseffo Zarlino (1517-1590) Nel Quinto Centenario Della Nascita
    Fondazione Ugo e Olga Levi onlus Venezia, Mercoledì delle ceneri, 1 marzo 2017, ore 20.30 chiesa di Santa Maria del Carmelo (Carmini) Musico perfetto Concerto per Gioseffo Zarlino (1517-1590) nel quinto centenario della nascita ensemble vocale Odhecaton direttore Paolo Da Col Mercoledì 1 marzo 2017, alle ore 20.30, nella chiesa di Santa Maria del Carmelo (Carmini) avrà luogo la XIV edizione del Concerto per il giorno delle Ceneri, tradizionale appuntamento culturale offerto alla città di Venezia dalla Fondazione Ugo e Olga Levi onlus Il concerto è dedicato, nel quinto centenario della nascita, a Gioseffo Zarlino, maestro di cappella di San Marco (Chioggia, 1517-Venezia, 1590), nell’ ambito di una serie di iniziative che vedono la Fondazione Levi impegnata nell’organizzazione di un convegno internazionale (29 novembre - 1 dicembre 2017), con la partecipazione di studiosi europei e americani, nell’allestimento di una mostra di pregevoli edizioni a stampa del Cinquecento di teoria musicale, con la collaborazione della Biblioteca Nazionale Marciana (1 dicembre 2017 - 1 gennaio 2018). Gioseffo Zarlino, è considerato uno dei massimi teorici della musica: nella sua umanistica considerazione dell’alta dignità della prassi artistica, da un lato, e della comprensione scientifica del pensiero antico per spiegare il presente, dall’altro, ha fornito alla teoria della composizione il sostegno di una dottrina razionale e di concetti fondamentali rimasti per secoli imprescindibili punti di riferimento nell’intera Europa. Alcuni esempi: la legittimazione,
    [Show full text]
  • Curriculum Vitae
    1 Jeffrey G. Kurtzman Department of Music Washington University Curriculum Vitae 1. Personal Citizenship: U.S.A. Marital status: married, Kathi Kurtzman, pianist and piano teacher Children: Kenneth, Suzanne Juliet Business address: Department of Music, Campus Box 1032, Washington University, St. Louis, Missouri 63130 Home address: 7605 Balson Ave., St. Louis, Missouri 63130-2150 Office phone: (314) 935-5524 Home phone: (314) 862-5354 2. Education 1965-1968 University of Illinois: Ph.D. in Musicology, 1972 M.M. in Musicology, 1967 Dissertation: "The Monteverdi Vespers of 1610 and their Relationship with Italian Sacred Music of the Early Seventeenth Century" Master's Thesis: "The Development of the Isorhythmic Motet in Fourteenth-Century France" 1964-1965 Washington State University 1963-1964 University of Illinois Summer 1963 Aspen Music School, study with Rosina Lhevinne 1958-1963 University of Colorado: B.M. in Piano Performance, 1963 3. Record of Employment 1986- Washington University, Professor of Music 1984-1986 Rice University, Co-Director of Student Advising 1982-1986 Rice University, Professor of Music 1979-1984 Rice University, Master of Baker College 1978-1982 Rice University, Associate Professor of Music 1975-1978 Rice University, Assistant Professor of Music 1972-1975 Middlebury College, Assistant Professor of Music 1969-1972 Middlebury College, Instructor in Music 1968-1969 Cornell University, Visiting Lecturer in Music 4. University Administrative Experience Washington University Chairman of Department of Music, 1986-1993
    [Show full text]
  • Polychoral Culture at San Marco in Venice
    SINGING THE REPUBLIC: POLYCHORAL CULTURE AT SAN MARCO IN VENICE (1550-1615) Masataka Yoshioka, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Bernardo Illari, Major Professor Graham Phipps, Minor Professor Margaret Notley, Committee Member Eileen M. Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Yoshioka, Masataka. Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615). Doctor of Philosophy (Musicology), December 2010, 262 pp., 3 tables, 69 examples, appendices, references, 154 titles. During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a “polychoral culture.” The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called “myth of Venice,” the city’s complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic.
    [Show full text]
  • Read Book Northern Renaissance Art 1St Edition
    NORTHERN RENAISSANCE ART 1ST EDITION PDF, EPUB, EBOOK Susie Nash | 9780192842695 | | | | | Northern Renaissance Art 1st edition PDF Book The Metropolitan Museum of Art. Ashley Poston made her name with Once Upon a Con, a contemporary series set in the world of fandom, and her two-part space opera, Heart of James Snyder also had his biases, and they sometimes made his book unbalanced. Frankenstein in Baghdad by Ahmed Saadawi. The Northern Netherlands. As in other media, the rich patronage available in Venice drew composers from elsewhere in Italy, and beyond, to work in the city. Main article: Venetian painting. The peak of development of the Venetian School was in the s, when Andrea and Giovanni Gabrieli composed enormous works for multiple choirs, groups of brass and string instruments, and organ. Condition: Brand New. James Snyder. In a brodart protective wrapper. Published by Discontinued 3PD Mah Burnaby, BC, Canada. Other editions. People expected painting, sculpture, architecture, and other forms of visual art to have a meaningful effect on their lives, " write the authors of this important n… More. Where Snyder used his own scholarship and his keen interests, particularly in Netherlandish painting, Dutch painting in particular, his insights remain lasting and fundamental, as valid as ever for today's students. His goal, he… More. Snyder, James. Subscribe to Our E-mail Newsletter. The influence of Venetian art did not cease to continue at the termination of the Renaissance period. It is the s, and he is eager to make a contribution to th… More. Shelve Eileen. In a fascinating recovery of the neglected human dimension that is clearly prese… More.
    [Show full text]
  • The Madrigal
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 1-1930 The madrigal. Frank B. Martin University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the English Language and Literature Commons Recommended Citation Martin, Frank B., "The madrigal." (1930). Electronic Theses and Dissertations. Paper 910. https://doi.org/10.18297/etd/910 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. 'I UNIVERSITY OF LOUISVILLE THE MADRIGAL. A Dissertation Submitted to the Faculty Of the Graduate School Of the University of Louisville In Partial Fulfillment of the Requirements for the Degree Of Master of Arts Department of English By FRANK B. lVlARTIN 1930 CONTENTS Chapter-. Pages. I The Foreign Madrigal 1 - 9. Ii II The English Madrigal 10 - 21. "i'" III The Etymology and structure 22 - 27. IV The Lyrics 28 - 41. V Composers 42 - 59. VI Recent Tendencies 60 - 64. Conclusions 65 - 67. .. Example of a-Madrigal 68 - 76. ~ Bibliography 77 - 79. .~ • • • THE FORKEGN MADR IGAL • • , CHAPTER I · . THE FOREIGN MADRIGAL The madrigal is the oldest of concerted • secular forms. It had its origin in northern Ita17, perhaps as early as the twelfth century. The early ..."i;'" compositions had none of the elaborate devices which characterize the madrigals of the sixteenth century.
    [Show full text]
  • Concert Distance Record, Connecting Armenia and Italy - Eap Connect
    Renaissance music techniques help break ‘distributed’ concert distance r... https://www.eapconnect.eu/news-event/renaissance-music-techniques-he... Renaissance music techniques help break ‘distributed’ concert distance record, connecting Armenia and Italy - EaP Connect By Laura Durnford When 17 th century composers created music to be performed in St. Mark’s Basilica in Venice, little did they realise that their ground-breaking musical techniques would allow a 21 st century performance across a record-breaking 5000 kilometres. Or that this would create a musical connection between the Armenian diaspora in Venice and Armenia itself. Two top choirs and partners in the EU-funded Eastern Partnership Connect (EaPConnect) project created a musical bridge between Venice (Italy) and Yerevan (Armenia) with the help of LoLa (low latency) audio-video transmission technology and cutting-edge research and education networks. Thirty-five a capella singers in the two countries performed together in one distributed concert, ‘Connecting with Culture’, in a spectacular opening for the 4 th Eastern Partnership E-Infrastructures Conference, EaPEC 2019. This was the first performance in Armenia to use LoLa technology. Bridging the distance Although Yerevan and Venice are ‘only’ around 3,400 kilometres apart, the networks that carried the digital signal between the two choirs totalled around 5000 km, crossing 7 countries, from Italy through Switzerland, Germany, Poland, Ukraine, Georgia and into Armenia. This is the longest distance spanned so far for any LoLa concert. Such a distance raises technical challenges for musical interaction, because greater distance brings greater ‘latency’ or delay in the digital signal transmission along the networks.
    [Show full text]