Katherine Butler – författare

The entanglement of music and literature of the early modern period is rich with exchanges, dialogues, and disputes. These entanglements present a fascinating counterpoint to early modernity, and in many ways serve as complicit witnesses to their times and places. The Routledge Companion to Early Modern Music and Literature considers musico-literary production from the period 1500–1800, as well as its contemporary resonances, and seeks to unpick these often knotty intersections.Following in the footsteps of The Routledge Companion to Music and Modern Literature (edited by Rachael Durkin, Peter Dayan, Axel Englund, and Katharina Clausius), the 28 chapters within consider this transformative time through four thematic groupings—music and early modern writings, political voices, staging the early modern, and afterlives—and invite readers to marvel at the miscellany of interactions between early modern musics and literatures from the sixteenth to the twenty-first centuries. This Companion is therefore a valuable addition to the bookshelves of those looking to grapple with the early modern musico-literary relationship.

The entanglement of music and literature of the early modern period is rich with exchanges, dialogues, and disputes. These entanglements present a fascinating counterpoint to early modernity, and in many ways serve as complicit witnesses to their times and places. The Routledge Companion to Early Modern Music and Literature considers musico-literary production from the period 1500-1800, as well as its contemporary resonances, and seeks to unpick these often knotty intersections.Following in the footsteps of The Routledge Companion to Music and Modern Literature (edited by Rachael Durkin, Peter Dayan, Axel Englund, and Katharina Clausius), the 28 chapters within consider this transformative time through four thematic groupings-music and early modern writings, political voices, staging the early modern, and afterlives-and invite readers to marvel at the miscellany of interactions between early modern musics and literatures from the sixteenth to the twenty-first centuries. This Companion is therefore a valuable addition to the bookshelves of those looking to grapple with the early modern musico-literary y relationship.

The entanglement of music and literature of the early modern period is rich with exchanges, dialogues, and disputes. These entanglements present a fascinating counterpoint to early modernity, and in many ways serve as complicit witnesses to their times and places. The Routledge Companion to Early Modern Music and Literature considers musico-literary production from the period 1500-1800, as well as its contemporary resonances, and seeks to unpick these often knotty intersections.Following in the footsteps of The Routledge Companion to Music and Modern Literature (edited by Rachael Durkin, Peter Dayan, Axel Englund, and Katharina Clausius), the 28 chapters within consider this transformative time through four thematic groupings-music and early modern writings, political voices, staging the early modern, and afterlives-and invite readers to marvel at the miscellany of interactions between early modern musics and literatures from the sixteenth to the twenty-first centuries. This Companion is therefore a valuable addition to the bookshelves of those looking to grapple with the early modern musico-literary y relationship.

The complex relationship between myths and music is here investigated.Myths and stories offer a window onto medieval and early modern musical culture. Far from merely offering material for musical settings, authoritative tales from classical mythology, ancient history and the Bible were treated as foundations for musical knowledge. Such myths were cited in support of arguments about the uses, effects, morality and preferred styles of music in sources as diverse as theoretical treatises, defences or critiques of music, art, sermons, educational literature and books of moral conduct. Newly written literary stories too were believed capable of moral instruction and influence, and were a medium through which ideas about music could be both explored and transmitted. How authors interpreted and weaved together these traditional stories, or created their own, reveals much about changing attitudes across the period.Looking beyond the well-known figure of Orpheus, this collection explores the myriad stories that shaped not only musical thought, but also its styles, techniques and practices. The essays show that music itself performed and created knowledge in ways parallel to myth, and worked in tandem with old and new tales to construct social, political and philosophical views. This relationship was not static, however; as the Enlightenment dawned, the once authoritative gods became comic characters and myth became a medium forridicule. Overall, the book provides a foundation for exploring myth and story throughout medieval and early modern culture, and facilitating further study into the Enlightenment and beyond.KATHERINE BUTLER is a seniorlecturer in music at Northumbria University; SAMANTHA BASSLER is a musicologist of cultural studies, a teaching artist, and an adjunct professor in the New York metropolitan area.Contributors: Jamie Apgar, Katie Bank, Samantha Bassler, Katherine Butler, Elina G. Hamilton, Sigrid Harris, Ljubica Ilic, Erica Levenson, John MacInnis, Patrick McMahon, Aurora Faye Martinez, Jacomien Prins, Tim Shephard, Jason Stoessel, Férdia J. Stone-Davis, Amanda Eubanks Winkler.

Music and musical entertainments are here shown to be used for different ends, by both monarch and courtiers.Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song?This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility.KATHERINE BUTLER is a Senior Lecturer at Northumbria University, Newcastle.

Reconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first centuryThe first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filtered not only into 'classical' large-scale heroic symphonies and virtuoso solo concerts, but also into chamber music and vernacular dance music. The third part documents the forced heroization of music in twentieth-century totalitarian regimes such as Nazi-Germany and the Soviet Union and its consequences for heroic thinking and musical styles in the time thereafter. Final chapters show how recent rock-folk and avant-garde musicians in North America and Europe feature new heroic models such as the everyday hero and the scientific heroine revealing new confidence in the idea of the heroic.

Music and musical entertainments are here shown to be used for different ends, by both monarch and courtiers.Queen Elizabeth I (1558-1603) had a strong reputation for musicality; her court musicians, Thomas Tallis and William Byrd, even suggested that music was indispensable to the state. But what roles did music play in Elizabethan court politics? How did a musical image assist the Queen in projecting her royal authority? What influence did her private performances have on her courtships, diplomatic affairs, and relationships with courtiers? To what extent did Elizabeth control court music, or could others appropriate performances to enhance their own status and achieve their ambitions? Could noblemen, civic leaders, or even musicians take advantage of Elizabeth's love of music to present their complaints and petitions in song?This book unravels the connotations surrounding Elizabeth's musical image and traces the political roles of music at the Elizabethan court. It scrutinizes the most intimate performances within the Privy Chamber, analyses the masques and plays performed in the palaces, and explores the grandest musical pageantry of tournaments, civic entries, and royal progresses. This reveals how music served as a valuable means for both the tactful influencing of policies and patronage, and the construction of political identities and relationships. In the late Tudor period music was simultaneously a tool of authority for the monarch and an instrumentof persuasion for the nobility.KATHERINE BUTLER is a Senior Lecturer at Northumbria University, Newcastle.

Titles in the Pocket Tutor series give practical guidance on subjects that medical students and foundation doctors need help with “on the go”, at a highly affordable price that puts them within reach of those rotating through modular courses or working on attachment.Common investigations (ECG, imaging, etc)Clinical skills (patient examination, etc.)Clinical specialties that students perceive as too small to merit a textbook (psychiatry, renal medicine)Key pointsPractical, accessible introduction to a subject that students find daunting, but which juniors will encounter as part of orthopaedic and emergency rotationsLogical, sequential content: relevant basic science; then chapters devoted to the clinical essentials of orthopaedics and the disorders and injuries seen most commonly in practiceDescriptions of common disorders are enhanced by Clinical Scenarios (Patient presents with...), which help students and trainees to recognise and manage common presenting problems