Robert L. Kendrick – författare
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8 produkter
8 produkter
Inbunden, Engelska, 2002
2 403 kr
Skickas inom 5-8 vardagar
In this book, a follow-up to his 1996 monograph Celestial Sirens, Robert Kendrick examines the cultural contexts of music in early-modern Milan. This book describes the churches and palaces that served as performance spaces in Milan, analyses the power structures in the city, discusses the devotional rites of the Milanese, and explores the connections among city-politics, city-scape and music. Milan's music, Kendrick argues, was the best representation of that city's symbolic system.More than a typical "patrons and institutions" analysis of music's influences, The Sounds of Milan makes use of social anthropological methods to illuminate the roles of composers, performers and audiences. Kendrick traces the rise of polyphony from early appearances in secular music to an important feature of devotional music, all occurring under the careful regulation of the church hierarchy. He illuminates how lay musicians, organised into professional guilds, collaborated on civic festivals and even borrowed from one another's work.Reflecting extensive research into architecture, art, politics, religion, this book offers a complete and interdisciplinary portrait of Milan, one of the most vibrant -- and most musical -- cities in early-modern Italy.
E-bok
PDF, Engelska, 20022 052 kr
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In this book, a follow-up to his 1996 monograph Celestial Sirens, Robert Kendrick examines the cultural contexts of music in early-modern Milan. This book describes the churches and palaces that served as performance spaces in Milan, analyzes the power structures in the city, discusses the devotional rites of the Milanese, and explores the connections among city politics, city-scape, and music.
Inbunden, Engelska, 1996
3 066 kr
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This study investigates an almost unknown musical culture: that of cloistered nuns in one of the major cities of early modern Europe. These women were the most famous musicians of Milan, and the music composed for them opens up a hitherto unstudied musical repertory, which allows insight into the symbolic world of the city. Even more importantly, the music actually composed by four such nuns, Claudia Scossa, Claudia Rusca, Chiara Margarita Cozzollani, and Rosa Giacinta Badalla - reveals the musical expression of women's devotional life.The two centuries' worth of battles over nuns' singing of polyphony, studies here for the first time on the basis of massive archival documentation, also suggest that the implementation of reform in the major centre of post-Tridentine Catholic renewal was far more varied; incomplete, subject to local political pressure and individual interpretation, and short-lived than any religious historian has ever suggested. Other factors that marked nuns' musical lives and creative output - liturgical traditions of the religious orders, the problems of performance practice attendant upon all-female singing ensembles - are here addressed for the first time in the musicological literature.
Inbunden, Engelska, 2025
424 kr
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Examines how stories of biblical families were reconfigured and projected in the genre of the oratorio, a form of sacred opera, in the seventeenth and eighteenth centuries.Based to a great extent on the Old Testament, the largely Catholic musical-dramatic genre was popular in Italy, Austria, and southern Germany in the seventeenth and eighteenth centuries. Biblical Families in Music reveals how difficult stories of fratricide, child sacrifice, death, and forbidden love performed a didactic function in oratorios, teaching early modern audiences about piety and the rules of proper family life.In the century after 1670, the heavily adapted tales of Abraham and Isaac, Cain and Abel, and the Egyptian slave Hagar and her son Ishmael were set to music by figures such as Alessandro Scarlatti and Antonio Sacchini and performed during Lent in churches and other sacred spaces for an audience of court nobility, clergy, and the urban patriciate. By examining the resonance of Catholic oratorios within predominantly upper-class social realities, the book broadens our cultural understanding of the early modern European family and underscores the centrality of family and familial relation to social position, devotional taste, and identity.
Inbunden, Engelska, 2014
575 kr
Skickas inom 10-15 vardagar
A defining moment in Catholic life in early modern Europe, Holy Week brought together the faithful to commemorate the passion, crucifixion, and resurrection of Jesus Christ. In this study of ritual and music, Robert L. Kendrick investigates the impact of the music used during the Paschal Triduum on European cultures during the mid-16th century, when devotional trends surrounding liturgical music were established; through the 17th century, which saw the diffusion of the repertory at the height of the Catholic Reformation; and finally into the early 18th century, when a change in aesthetics led to an eventual decline of its importance. By considering such issues as stylistic traditions, trends in scriptural exegesis, performance space, and customs of meditation and expression, Kendrick enables us to imagine the music in the places where it was performed.
Inbunden, Engelska, 2018
608 kr
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In this first detailed study of seventeenth-century sepolcri—sacred operas written for court performance on Holy Thursday and Good Friday—Robert L. Kendrick delves into the political and artistic world of Habsburg Vienna, in which music and ritual combined on the stage to produce a thoroughly original art form based on devotion to Christ’s Tomb. Through the use of allegorical characters, the musical dramas ranged from the devotionally intense, to the theologically complex, to the ugly anti-Jewish, but played a unique role in making Passion piety relevant to wider cultural concerns. Fruits of the Cross suggests that understanding the sepolcri has implications for the theatricalization of devotion, the power of allegory, the role of queenship in court ideology, the interplay between visuality and music, and not least the intellectual centrality of music theater to court self-understanding.
E-bok
Engelska, 20181 083 kr
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In this first detailed study of seventeenth-century sepolcri—sacred operas written for court performance on Holy Thursday and Good Friday—Robert L. Kendrick delves into the political and artistic world of Habsburg Vienna, in which music and ritual combined on the stage to produce a thoroughly original art form based on devotion to Christ’s Tomb. Through the use of allegorical characters, the musical dramas ranged from the devotionally intense, to the theologically complex, to the ugly anti-Jewish, but played a unique role in making Passion piety relevant to wider cultural concerns. Fruits of the Cross suggests that understanding the sepolcri has implications for the theatricalization of devotion, the power of allegory, the role of queenship in court ideology, the interplay between visuality and music, and not least the intellectual centrality of music theater to court self-understanding.
E-bok
PDF, Engelska, 20221 301 kr
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Die neuen Lamentationen (Klagelieder des Jeremia) wurden in der römisch-katholischen Kirche traditionell als Lektionen im Triduum Sacrum der Karwoche gesungen. Christiaan Hollander (um 1510–1568/69) komponierte seinen fünfstimmigen Zyklus für die Liturgie am Hof Erzherzog Ferdinands II., entweder in Prag (1565–66) oder in Innsbruck (1566–1569). Das Werk liegt in der Österreichischen Nationalbibliothek als Handschrift aus dem Jahr 1579 vor, die mit einem Widmungsgedicht von Michael Echamer an Kaiser Rudolf II. beginnt. Echamer war ein Kollege von Hollander am Tiroler Hof und nahm die Kompositionen wahrscheinlich mit sich, als er 1569 nach Dresden übersiedelte und in sächsische Dienste trat. Die Textauswahl der neun Lektionen ist einzigartig und in dieser Form weder in anderen Lamentationen-Zyklen noch in zeitgenössischen Brevieren zu finden. Das dichte Satzgewebe der Komposition korrespondiert mit Hollanders zeitgenössischem Ruhm als Kontrapunktist.Traditionally, verses from the Lamentations of Jeremiah were sung in Catholic liturgy as nine Matins Lessons during the Triduum Sacrum of Holy Week. Christiaan Hollander (c. 1510–1568/69) composed his five-voice cycle of such pieces for the chapel of Archduke Ferdinand II of Tyrol either in Prag (1565–66) or Innsbruck (1566–69). The only manuscript source of this work is preserved in the Austrian National Library: a codex from 1579 which opens with a dedicatory poem by Michael Echamer to Emperor Rudolph II. Echamer, Hollander''s colleague at the Tyrolese court, probably took the pieces with him when he moved from Tyrol to Saxon court service in Dresden in 1569. The textual choices of the nine Lessons are unique, and not paralleled in other cycles nor contemporary breviaries. The complex texture of the pieces corresponds to Hollander''s comtemporary fame regarding his contrapuntal skill.