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| solesmes editions: Harvard Dictionary of Music Willi Apel, 1969 Contains nearly 1000 pages of precise and accessible information on all musical subjects. |
| solesmes editions: The Restoration of Gregorian Chant Pierre Combe, 2008-08 Gregorian chant, the Catholic Church's very own music, is proper to the Roman liturgy, but during the course of its long history it has experienced periods of ascendancy and decline. A century ago, Pope Pius X called for a restoration of the sacred melodies, and the result was the Vatican Edition. This book presents for the first time in English the fully documented history of the Gregorian chant restoration. The original French edition was published by the Abbey of Solesmes in 1969.This book describes in careful, vivid detail the strenuous efforts of personalities like Dom Joseph Pothier, Dom Andre Mocquereau, Fr. Angelo de Santi, and Peter Wagner to carry out the wishes of the pope. The attentive reader will not fail to note that many of the questions so fervidly debated long ago are still current and topical today. Robert A. Skeris' introduction to this edition illuminates the current discussion with documentation, including the Preface to the Vatican Gradual and the Last Will and Testament written by Dom Eugene Cardine. |
| solesmes editions: Sacred Music and Liturgical Reform Rev. Anthony Ruff, O.S.B., 2022-01-07 Anthony Ruff, O.S.B., has written a brilliant, comprehensive, well-researched book about the treasures of the Church's musical tradition, and about the transformations brought about by liturgical reform. The liturgy constitution Sacrosanctum Concilium stated many revolutionary principles of liturgical reform. Regarding liturgical music, the Council's decrees mandated, on the one hand, the preservation of the inherited treasury of sacred music, and on the other hand, advocated adaptation and expansion of this treasury to meet the changed requirements of the reformed liturgy. In clear, precise language, he retrieves the Council's neglected teachings on the preservation of the inherited music treasury. He clearly shows that this task is not at odds with good pastoral practice, but is rather an integral part of it. The book proposes an alternate hermeneutic for understanding the Second Vatican Council's teachings on worship music. |
| solesmes editions: Western Plainchant David Hiley, 1995 Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the wake of the Carolingian renaissance of the 8th and 9th centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designed both for those to whom the subject is new and those who require a reference work for advanced studies. It begins with an explanation of the liturgies which plainchant was designed to serve. All the chief genres of chant, different types of liturgical book, and plainchant notations are described. The later chapters are complemented by plates, with commentary and transcriptions. After an exposition of early medieval theoretical writing on plainchant, a historical survey follows the constantly changing nature of the repertory through from the earliest times to the restoration of medieval chant a century ago. The historical relations between Gregorian, Old-Roman, Milanese, Spanish, and other repertories is considered. Important musicians and centre of composition are discussed, together with the establishment of Gregorian chant in all the lands of medieval Europe, and the reformations and revisions carried out by the religious orders and the humanists. Copiously illustrated with over 200 musical examples transcribed from original sources, the book highlights the diversity of practice and richness of the chant repertory characteristic of the Middle Ages. As both a self-contained summary and also, with its many pointers to further reading, a handbook for research, it will become an indispensable reference book on this vast subject. |
| solesmes editions: The Liturgical Year: Time after Pentecost Prosper Guéranger, 1951 |
| solesmes editions: Church Music , 1909 |
| solesmes editions: Music of the Middle Ages: Volume 1 Giulio Cattin, F. Alberto Gallo, 1984-12-06 A unique history of the vast repertory of monophonic music of the Middle Ages. |
| solesmes editions: Inside Early Music Bernard D. Sherman, 2003-10-09 The attempt to play music with the styles and instruments of its era--commonly referred to as the early music movement--has become immensely popular in recent years. For instance, Billboard's Top Classical Albums of 1993 and 1994 featured Anonymous 4, who sing medieval music, and the best-selling Beethoven recording of 1995 was a period-instruments symphony cycle led by John Eliot Gardiner, who is Deutsche Grammophon's top-selling living conductor. But the movement has generated as much controversy as it has best-selling records, not only about the merits of its results, but also about the validity of its approach. To what degree can we recreate long-lost performing styles? How important are historical period instruments for the performance of a piece? Why should musicians bother with historical information? Are they sacrificing art to scholarship? Now, in Inside Early Music, Bernard D. Sherman has invited many of the leading practitioners to speak out about their passion for early music--why they are attracted to this movement and how it shapes their work. Readers listen in on conversations with conductors Gardiner, William Christie, and Roger Norrington, Peter Phillips of the Tallis Scholars, vocalists Susan Hellauer of Anonymous 4, forte pianist Robert Levin, cellist Anner Bylsma, and many other leading artists. The book is divided into musical eras--Medieval, Renaissance, Baroque, and Classic and Romantic--with each interview focusing on particular composers or styles, touching on heated topics such as the debate over what is authentic, the value of playing on period instruments, and how to interpret the composer's intentions. Whether debating how to perform Monteverdi's madrigals or comparing Andrew Lawrence-King's Renaissance harp playing to jazz, the performers convey not only a devotion to the spirit of period performance, but the joy of discovery as they struggle to bring the music most truthfully to life. Spurred on by Sherman's probing questions and immense knowledge of the subject, these conversations movingly document the aspirations, growing pains, and emerging maturity of the most exciting movement in contemporary classical performance, allowing each artist's personality and love for his or her craft to shine through. From medieval plainchant to Brahms' orchestral works, Inside Early Music takes readers-whether enthusiasts or detractors-behind the scenes to provide a masterful portrait of early music's controversies, challenges, and rewards. |
| solesmes editions: Passiontide and Holy Week Prosper Guéranger, 1870 |
| solesmes editions: Church Music; a Magazine for the Clergy, Choirmasters and Organists , 1906 |
| solesmes editions: The Catholic Encyclopedia Charles George Herbermann, 1912 |
| solesmes editions: Music and the Cultures of Print Kate van Orden, 2018-12-07 This collection of essays explores the cultures that coalesced around printed music in previous centuries. It focuses on the unique modes through which print organized the presentation of musical texts, the conception of written compositions, and the ways in which music was disseminated and performed. In highlighting the tensions that exist between musical print and performance this volume raises not only the question of how older scores can be read today, but also how music expressed its meanings to listeners in the past. |
| solesmes editions: Musical News and Herald , 1918 |
| solesmes editions: The Tablet , 1895 |
| solesmes editions: Renewal and Resistance Paul Collins, 2010 The Roman Catholic Church has always been concerned with the quality of the music used in the liturgy, and the essays in this volume trace the church's efforts, during the nineteenth century and the first half of the twentieth, to cultivate a more appropriate liturgical music for its Latin Rite. The task of restoration - expressed, for example, in the chant revival associated with the monks of Solesmes, the efforts of the Cecilian movement, and Pius X's determination to reform sacred music in the universal church - is a recurring theme in the book. Meanwhile resistance, particularly to the reforms decreed by the pope's 1903 motu proprio, also finds a voice in the volume. The essays collected here describe selected scenes and episodes from the unending story of imperfect human beings trying to express in their music the perfection of God. |
| solesmes editions: The Catholic Choirmaster , 1922 |
| solesmes editions: The Politics of Plainchant in fin-de-siècle France Katharine Ellis, 2017-07-28 This book tells three inter-related stories that radically alter our perspective on plainchant reform at the turn of the twentieth century and highlight the value of liturgical music history to our understanding of French government anticlericalism. It offers at once a new history of the rise of the Benedictines of Solesmes to official dominance over Catholic editions of plainchant worldwide, a new optic on the French liturgical publishing industry during a period of international crisis for the publication of plainchant notation, and an exploration of how, both despite and because of official hostility, French Catholics could bend Republican anticlericalism at the highest level to their own ends. The narrative relates how Auguste Pécoul, a former French diplomat and Benedictine novice, masterminded an undercover campaign to aid the Gregorian agenda of the Solesmes monks via French government intervention at the Vatican. His vehicle: trades unionists from within the book industry, whom he mobilized into nationalist protest against Vatican attempts to enshrine a single, contested, and German, version of the musical text as canon law. Yet the political scheming necessitated by Pécoul’s double involvement with Solesmes and the print unions almost spun out of control as his Benedictine contacts struggled with internal division and anticlerical persecution. The results are as musicologically significant for the study of Solesmes as they are instructive for the study of Church-State relations. |
| solesmes editions: Oral and Written Transmission in Chant Thomas Forrest Kelly, 2023-01-30 The writing down of music is one of the triumphant technologies of the West. Without writing, the performance of music involves some combination of memory and improvisation. Isidore of Seville famously wrote that unless sounds are remembered by man, they perish, for they cannot be written down. This volume deals with the materials of chant from the point of view of transmission. The early history of chant is a history of orality, of transmission by mouth to ear, and yet we can study it only through the use of written documents. Scholars of medieval music have taken up the ideas and techniques of scholars of folklore, of oral transmission, of ethnomusicology; for the chant is, in fact, an ancient music transmitted for a time in oral culture; and we study a culture not our own, whose informants are not people but manuscripts. All depends, ironically, on deducing oral issues from written documents. |
| solesmes editions: Entrances Rembert Herbert, 1999 |
| solesmes editions: The Sounds and Sights of Performance in Early Music BrianE. Power, 2017-07-05 The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials. This volume of essays presents a cross-section of new research on performance issues in music of the Middle Ages and Renaissance. The subject is approached from a broad perspective, drawing on areas such as dance history, art history, music iconography and performance traditions from beyond Western Europe. In doing so, the volume continues some of the many lines of inquiry pursued by its dedicatee, Timothy J. McGee, over a lifetime of scholarship devoted to practical questions of playing and singing early music. Expanding the bases of inquiry to include various social, political, historical or aesthetic backgrounds both broadens our knowledge of the issues pertinent to early music performance and informs our understanding of other cultural activities within which music played an important role. The book is divided into two parts: 'Viewing the Evidence' in which visually based information is used to address particular questions of music performance; and 'Reconsidering Contexts' in which diplomatic, commercial and cultural connections to specific repertories or compositions are considered in detail. This book will be of value not only to specialists in early music but to all scholars of the Middle Ages and Renaissance whose interests intersect with the visual, aural and social aspects of music performance. |
| solesmes editions: The Intonation Formulas of Western Chant Terence Bailey, 1974 |
| solesmes editions: Catholic Year Book of New England , 1906 |
| solesmes editions: The Musical Legacy of Wartime France Leslie A. Sprout, 2013-05-25 For the forces competing for political authority in France during Word War II, music became the site of a cultural battle that reflected the war itself. In this book, Leslie A. Sprout explores how several well-known composers struggled to balance artistic integrity with political survival. |
| solesmes editions: Catalogue Bernard Quaritch (Firm), 1903 |
| solesmes editions: Biomedicine and Beatitude Nicanor Pier Giorgio AUSTRIACO, 2011-12-05 Besides ethical questions raised at the beginning and the end of life, Nicanor Austriaco, O.P., discusses the ethics of the clinical encounter, human procreation, organ donation and transplantation, and biomedical research. |
| solesmes editions: Catholic Encyclopedia , 1912 |
| solesmes editions: The Catholic Encyclopedia: Simony-Tournaly , 1912 |
| solesmes editions: The Rule of St. Benedict Paul Delatte, 1921 |
| solesmes editions: The Catholic Encyclopedia Charles Herbermann, 1912 |
| solesmes editions: John Kirkpatrick, American Music, and the Printed Page Drew Michael Massey, 2013 How one extraordinary pianist, scholar, and editor prepared for publication important scores by Ives, Copland, and Ruggles, and reshaped the history of American musical modernism. For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the musicand legacies of some of the great American modernists, including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. Drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, Massey carefully reconstructs Kirkpatrick's collaborations with such luminaries, displaying his editorial practice and inviting reconsideration of many of the most important debates in American modernism --for example, the self-fashioning of young composers during the 1940s, the cherished myth of Ruggles as a composer in communion with the timeless, and Ives's status as a pioneer of modernist techniques. First winner (November 2014) of ASCAP's Virgil Thomson Award for Outstanding Music Criticism. Drew Massey is an Assistant Professor of Music at Binghamton University. |
| solesmes editions: The Critical Editing of Music James Grier, 1996-08-15 The book follows the activities inherent in music editing, including the tasks of the editor, the nature of musical sources, and transcription. Grier also discusses the difficult decisions faced by the editor such as sources not associated with the composer and necessary editorial judgement. |
| solesmes editions: American Ecclesiastical Review , 1901 |
| solesmes editions: American Ecclesiastical Review Herman Joseph Heuser, 1916 |
| solesmes editions: Ecclesiastical Review ... Herman Joseph Heuser, 1904 |
| solesmes editions: Handbook of Religious Culture in Nineteenth-Century Europe Anthony Steinhoff, Jeffrey Zalar, 2024-12-30 This handbook offers a guide to research on religious culture during Europe’s long nineteenth century (1800–1914). Grounded in the latest theoretical approaches and in line with trends that have produced a religious turn in the study of modern Europe, the volume assesses the state of the field while making provocative recommendations for its enlargement. Unique and ambitious in its thematic breadth, it addresses the histories of all five of Europe’s main religious traditions – Eastern Orthodox Christianity, Judaism, Islam, Protestantism, and Roman Catholicism – and brings these histories into comparative analysis. This analysis extends to a wide range of subjects, from popular belief and practice, education and modern knowledge formation, and the arts to the intersections between religion and urbanization, civil society and politics, and missions and imperialism. It also evaluates recent developments in work on religion vis-à-vis both gender and nationalism, while calling attention to newer research that proposes secularism as a form of belief in its own right. Presenting the scholarship of eighteen leaders in their respective fields, the volume explains why religion as a topic of research has moved from the periphery to the center of modern European historiography. |
| solesmes editions: Gregorian Chant Willi Apel, 1958 Interest in Gregorian chant has always been alive among musicologists and those devoted to preserving early church music in all its haunting simplicity. Willi Apel's extensive survey of the chant describes the evolutionary processes of its long history as well as its definition and terminology, the structure of the liturgy, the texts, the notation, the rhythm, the tonality, and the methods and forms of psalmody. Under the heading Stylistic Analysis it offers chapters on liturgical recitative, the free compositions according to types, Ambrosian chant (by Roy Jesson), and Old-Roman chant (by Robert J. Snow). A short conclusion, titled Prolegomena to a History of Gregorian Style, completes this impressive volume. Book jacket. |
| solesmes editions: The American Catholic Quarterly Review James Andrew Corcoran, Patrick John Ryan, Edmond Francis Prendergast, 1915 |
| solesmes editions: The American Catholic Quarterly Review ... , 1915 |
| solesmes editions: Living Organ Donation and Transplantation Scaria Kanniyakonil, 2005 |
| solesmes editions: The History of Classical Music For Beginners Endris, R. Ryan, 2014-10-07 Music history is nearly as old as human civilization itself, and while it has permeated the arts and popular culture for centuries, it still has a mystifying aura surrounding it. But fear not—it’s not as complicated as it seems, and anyone can learn the origins and history of Western classical music. In addition to learning how better to understand (and enjoy!) classical music, The History of Classical Music For Beginners will help you learn some of the more interesting and sometimes comical stories behind the music and composers. For example: Did you know that Jean-Baptiste Lully actually died from conducting one of his own compositions? You may have heard of Gregorian chant, but did you know there are many forms of chant, including Ambrosian and Byzantine chant? And did you also know that only a small portion of “classical music” is even technically classical? These interesting, insightful facts and more are yours to discover in The History of Classical Music For Beginners. |
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