Sacred and Secular Intersections in Music of the Long Nineteenth Century Church, Stage, and Concert Hall
Product details
Biographical note
Eftychia Papanikolaou is associate professor of musicology at the College of Musical Arts at Bowling Green State University.
Markus Rathey is the Robert S. Tangeman Professor of Music History at Yale University and author of Theology, Music, and Modernity: Struggles for Freedom.
<p>âThis fascinating set of essays digs deep into the complexities of religionâs intertwining with music during an era when so many fundamental questions about the human condition were being thrown to the surface and debated. A rich feast indeed.â</p>
- Jeremy Begbie, Duke University,
<p>âSacred and Secular Intersections in Music of the Long Nineteenth Century is an excellently researched, written, and edited volume, with essays spanning a broad scope of topics, genres, composers, and geographic regions. The authors challenge the conception of âsacredâ and âsecularâ as separate compositional and performative spheres, seeing them rather as complex categories with fluid boundaries. The volume is deeply cross-disciplinary, grounded in musicology while drawing on a wealth of other fields, including theology, liturgy, philosophy, history of religion, the politics of church and state, literature, theater, visual art, and aesthetics. It provides a valuable contribution to the field of nineteenth-century studies, both in the significant new insights it contains and in the ways it points to new avenues for future research.â</p>
- Mark A. Peters, Trinity Christian College,
<p>âThis wide-ranging collection of essays clearly demonstrates the generative potential of dialogue between musical and religious themes. The volume is fascinating, illuminating, and highly recommended!â</p>
- Stephen A. Crist, Emory University,
Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall explores interconnections of the sacred and the secular in music and aesthetic debates of the long nineteenth century. The essays in this volume view the category of the sacred not as a monolithic attribute that applies only to music written for and performed in a religious ritual. Rather, the âsacredâ is viewed as a functional as well as a topical category that enhances the discourse of cross-pollination of musical vocabularies between sacred and secular compositions, church and concert music. Using a variety of methodological approaches, the contributors articulate how sacred and religious identities coalesce, reconcile, fuse, or intersect in works from the long nineteenth century that traverse an array of genres and compositional styles.
The book explores interconnections of the sacred and the secular in music of the long nineteenth century. It investigates manifestations of religion in music not primarily intended for liturgical performance and assesses compositions that originated in a liturgical context but then migrated in their performance into a non-liturgical sphere.
Contents
Introduction
Eftychia Papanikolaou and Markus Rathey
Religion, Music, and the Romantic Imagination
Chapter 1. Music for the âCultured Despisersâ of Religion: Schleiermacher on Singing in Church
and Beyond
Joyce L. Irwin
Chapter 2. The Cross and the Wanderer: From the Sacred to the Secular in the Early Nineteenth
Century
Joseph E. Morgan
Chapter 3. The Sacred Looking Glass: Imaginative Children's Music as Syncretic Nexus
Matthew Roy
Sacred and Secular Drama on the Stage
Chapter 4. Reassessing Robert Schumannâs Motivations for Composing a Mass and Requiem
Sonja Wermager
Chapter 5. Spirituality and the Fugal Topos in the Secular Dramatic Works of Robert Schumann
Christopher Ruth
Chapter 6. Hieratic Iconoclasm: Liszt, Hanslick, and the Graner Festmesse
Eftychia Papanikolaou
Chapter 7. Sacred Moments in the Secular Dramatic Works of Arthur Sullivan
Matthew Hoch
Counterpoint and Chorale in Instrumental Music
Chapter 8. Redeeming Chamber Music: Experiencing Solace in Mendelssohnâs Late Chamber
Music
Siegwart Reichwald
Chapter 9. Felix Mendelssohnâs Lobgesang: âImaginary Church Musicâ or a Sublime
Symphony?
Joshua A. Waggener
Chapter 10. The Italian Reception in Bachâs Keyboard Works and Passions: Intersections of the
Sacred and the Secular
Chiara Bertoglio
Echoes of the Sacred in French Music after the Revolution
Chapter 11. âThe Habit Does Not Make the Monkâ: Rethinking Anti-Clericalism in French
Revolutionary Opéras-Comiques
Callum Blackmore
Chapter 12. Biblical Boulevards: Sounding the Ralliement on Parisian Popular Stages
Jennifer Walker
Chapter 13. Debussyâs Religion of Art in His Trois mĂ©lodies de Verlaine
Megan Sarno
Sacred Songs and Memory in North American Music
Chapter 14. âOld 100th,â Militarization, and Nostalgia During the American Civil War
James A. Davis
Chapter 15. Mourning, Judgment, and Resurrection: Christian Imagery in Reconstruction Sheet
Music
Thomas J. Kernan
Chapter 16. Spirituals Share the Stage with Mozart and Beethoven: The Germany Tour of the
Fisk Jubilee Singers in 1877/78 and the Responses of the German Press
Markus Rathey
Music, Rite, and Identity in Eastern Europe and Russia
Chapter 17. Veiled Allusions to the Sacred: Secular Music During the Partitions of Poland
Bogumila Mika
Chapter 18. Futurist Constructions of the Sacred: The Ballets Russes, Liturgie, and the Problem of a Musical Score
Barbara Swanson
Chapter 19. (Re)constructing Medieval Rusâ in Kastalskyâs Furnace Rite
David Salkowski
About the Contributors
Product details
Biographical note
Eftychia Papanikolaou is associate professor of musicology at the College of Musical Arts at Bowling Green State University.
Markus Rathey is the Robert S. Tangeman Professor of Music History at Yale University and author of Theology, Music, and Modernity: Struggles for Freedom.