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Janet Page explores the interaction of music and piety, court and church, as seen through the relationship between the Habsburg court and Vienna's convents. For a period of some twenty-five years, encompassing the end of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and music meshed perfectly with the musical practices of Viennese convents. This mutually beneficial association disintegrated during the eighteenth century, and the changing relationship of court and convents reveals something of the complex connections among the Habsburg court, the Roman Catholic Church, and Viennese society. Identifying and discussing many musical works performed in convents, including oratorios, plays with music, feste teatrali, sepolcri, and other church music, Page reveals a golden age of convent music in Vienna and sheds light on the convents' surprising engagement with contemporary politics.

Music --- anno 1700-1799 --- Vienna --- Convents --- History and criticism. --- Vienna (Austria) --- Politics and government --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Political aspects --- History --- Religious aspects --- Cloisters (Religious communities) --- Convents and nunneries --- Nunneries --- Church property --- Religious institutions --- Monasticism and religious orders for women

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Cynthia Verba's book explores the story of music's role in the French Enlightenment, focusing on dramatic expression in the musical tragedies of the composer-theorist Jean-Philippe Rameau. She reveals how his music achieves its highly moving effects through an interplay between rational design, especially tonal design, and the portrayal of feeling and how this results in a more nuanced portrayal of the heroine. Offering a new approach to understanding Rameau's role in the Enlightenment, Verba illuminates important aspects of the theory-practice relationship and shows how his music embraced Enlightenment values. At the heart of the study are three scene types that occur in all of Rameau's tragedies: confession of forbidden love, intense conflict and conflict resolution. In tracing changes in Rameau's treatment of these, Verba finds that while he maintained an allegiance to the traditional French operatic model, he constantly adapted it to accommodate his more enlightened views on musical expression.

Opera --- Enlightenment --- Music --- Philosophy and aesthetics. --- Rameau, Jean-Philippe, --- Criticism and interpretation. --- Rameau, Jean-Philippe --- Opéra --- Siècle des Lumières --- Musique --- Philosophie et esthétique --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Gluck-Piccinni controversy --- Querelle des Bouffons --- Philosophy and aesthetics --- Ramo, Zhan Filipp, --- Rameau, --- Rameau, Johann Baptist, --- Rameau, J. Ph. --- Ramō, J. Ph., --- Ramō, Jan Firippu,

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Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in a Commercial World, 1800-1930, is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) and intersected with commercial agendas in nineteenth- and early twentieth-century culture. Understanding how art music was portrayed and perceived in a modernizing marketplace, and how culture and commerce interacted, are the book's main goals. In this volume, international scholars from musicology and other disciplines address a rangeof unexplored topics, including the relationship of sacred music with commerce in the mid nineteenth century, the role of music in urban cultural development in the early twentieth, and the marketingof musical repertories, performers and instruments across time and place, to investigate what happened once art music began to be understood as needing to exist within the wider framework of commercially oriented culture. Historical case studies present contrasting topics and themes that not only vary geographically and ideologically but also overlap in significant ways, pushing back the boundaries of the 'music as commerce' discussion. Through diverse, multidisciplinary approaches, the volume opens up significant paths for conversation about how musical concepts, practices and products wereshaped by interrelationships between culture and commerce. CHRISTINA BASHFORD is Associate Professor of Musicology at the University of Illinois. ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies Forum in the Obermann Center for Advanced Studies at the University of Iowa, where she is also on the faculty. CONTRIBUTORS: Christina Bashford, George Biddlecombe, Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright

Music --- Musicians --- Musique --- Musiciens --- Economic aspects --- Marketing --- Economic conditions --- Aspect économique --- Conditions économiques --- sociologie --- economie --- marketing --- muziekgeschiedenis --- Economics --- anno 1800-1899 --- Social aspects --- History --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- World War I. --- art and music history. --- art history. --- capitalism. --- commercialism. --- cultural studies. --- interdisciplinary musicology. --- music and culture. --- musicology. --- nineteenth century music. --- popularity. --- twentieth century music.

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Drawing upon hundreds of newly uncovered archival records, Gretchen Peters reconstructs the music of everyday life in over twenty cities in late medieval France. Through the comparative study of these cities' political and musical histories, the book establishes that the degree to which a city achieved civic authority and independence determined the nature and use of music within the urban setting. The world of urban minstrels beyond civic patronage is explored through the use of diverse records; their livelihood depended upon seeking out and securing a variety of engagements from confraternities to bathhouses. Minstrels engaged in complex professional relationships on a broad level, as with guilds and minstrel schools, and on an individual level, as with partnerships and apprenticeships. The study investigates how minstrels fared economically and socially, recognizing the diversity within this body of musicians in the Middle Ages from itinerant outcasts to wealthy and respected town musicians.

Music --- anno 1400-1499 --- France --- Musique --- Muziek --- Music patronage --- Social aspects --- History --- History and criticism. --- Aspect social --- Histoire --- Mécénat --- Histoire et critique --- History and criticism --- Mécénat --- 15th century --- 78.23 --- Histoire et critique. --- Music patronage. --- Music. --- Social aspects. --- 1400-1499. --- France. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Business patronage of music --- Corporations --- Maecenatism --- Patronage of music --- Performing arts sponsorship --- Music - Social aspects - France - History - 15th century --- Music patronage - France - History - 15th century --- Music - France - 15th century - History and criticism

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This book provides a collection of some 400 passages on music from early Christian literature - New Testament to c. 450 AD - newly translated from the original Greek, Latin, and Syriac. As there are no musical sources of the period, music historians must rely upon remarks about music in literary sources to gain some knowledge of early Christian liturgical music. This volume makes a large and representative collection of the material conveniently available. The passages are arranged chronologically and regionally in eleven chapters with brief commentary. An introduction sets out the major subjects and themes of the original source material.

Music --- Patrology --- Muziek en literatuur --- -Music and literature --- -Literature and music --- -Religieuze muziek --- -246.8 --- -246.8 Religieuze muziek --- Church music --- Music and literature --- 246.8 --- 246.8 Religieuze muziek --- Religieuze muziek --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Literature and music --- Literature --- Pastoral music (Sacred) --- Religious music --- Sacred vocal music --- Devotional exercises --- Liturgics --- Music in churches --- Psalmody --- Sources --- History --- Philosophy and aesthetics --- History and criticism --- Religious aspects --- Christianity --- Musique d'église --- Musique et littérature --- Musique --- Philosophie et esthétique --- To 500 --- 78.90 --- Sources. --- Philosophy and aesthetics.