The Oxford Handbook of Music and Medievalism (Oxford Handbooks)

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism—the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages—powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys . The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism. Acknowledgments 6 Contents 8 Notes on Contributors 12 Introduction • Kirsten Yri and Stephen C. Meyer 20 SECTION 1: ROMANTICIZING THE MEDIEVAL: THE LONGING FOR THE MIDDLE AGES IN THE NINETEENTH CENTURY 34 1. Medievalisms in Early Nineteenth-Century German Musical Thought • Laura K. T. Stokes 36 2. From Knight Errant to Family Man: Romantic Medievalism in Brahms’s Romanzen aus L. Tiecks Magelone, op. 33 (1865–1869) • Marie Sumner Lott 57 3. Liszt’s Medievalist Modernism • Balázs Mikusi 82 4. Soldiers and Censors: Verdi’s Medieval Imagination • Liana Püschel 100 5. The Distant Past as Mirror and Metaphor: Portraying the Medieval in Historical French Grand Operas • Diana R. Hallman 128 6. Medievalism and Regionalist Identity in Lalo’s Le Roi d’Ys • Elinor Olin 154 7. Romantic Medievalist Nationalism in Schumann’s Genoveva, Then and Now • Michael S. Richardson 174 8. Richard Wagner’s Medieval Visions • Barbara Eichner 193 SECTION 2: PERFORMING THE MIDDLE AGES 222 9. “What England Has Done for a Thousand Years”: Medievalism in Christmas Lessons and Carols Services • Jacob Sagrans 224 10. Medieval Folk in the Revivals of David Munrow • Edward Breen 243 11. Re-sounding Carl Theodor Dreyer’s La Passion de Jeanne d’Arc • Donald Greig 266 SECTION 3: MEDIEVALISM AND COMPOSITIONAL PRACTICE IN THE TWENTIETH CENTURY 286 12. Medievalism and Antiromanticism in Carl Orff’s Carmina Burana • Kirsten Yri 288 13. Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins • Lisa Colton 320 14. Hucbald’s Fifths and Vaughan Williams’s Mass: The New Medieval in Britain between the Wars • Deborah Heckert 346 15. The Return of Ars subtilior?: Rhythmic Complexity in the Chantilly Codex and in Selected Twentieth-Century Works • Aleksandra Vojčić 359 16. Miserere: Arvo Pärt and the Medieval Present • Laura Dolp 386 17. The Postmodern Troubadour • Anne Stone 416 SECTION 4: REIMAGINING THE MEDIEVAL WOMAN 440 18. Tolling Bells and Otherworldly Voices: Joan of Arc’s Sonic World in the Early Twentieth Century • Elizabeth Dister 442 19. Medievalism and Rued Langgaard’s Romantic Image of Queen Dagmar • Nils Holger Petersen 468 20. Nature, Reason, and Light in Vision—Aus dem Leben der Hildegard von Bingen • Jennifer Bain 487 21. Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch • Gillian L. Gower 503 SECTION 5: ECHOES OF THE MIDDLE AGES IN FOLK, ROCK, AND METAL 526 22. Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles • Elizabeth Randell Upton 528 23. “Ramble On”: Medievalism as a Nostalgic Practice in Led Zeppelin’s Use of J. R. R. Tolkien • Caitlin Vaughn Carlos 549 24. A Gothic Romance: Neomedieval Echoes of Fin’amor in Gothic and Doom Metal • Ross Hagen 566 25. Viking Metal • Simon Trafford 583 26. Medievalism and Identity Construction in Pagan Folk Music • Scott R. Troyer 605 SECTION 6: MEDIEVALISM OF THE SCREEN 628 27. From the Music of the Ainur to the Music of the Voice-over: Music and Medievalism in The Lord of the Rings • Stephen C. Meyer 630 28. Faith, Fear, Silence, and Music in Ingmar Bergman’s Medieval Vision of The Seventh Seal and The Virgin Spring • Alexis Luko 655 29. Hope against Fate or Fata Morgana? Music and Mythopoiesis in Boorman’s Excalibur • David Clem 681 30. The Many Musical Medievalisms of Disney • John Haines 709 31. Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America • James Deaville 728 32. Fantasy Medievalism and Screen Media • James Cook 748 33. Gaming the Medievalist World in Harry Potter • Karen M. Cook 769 Selected Bibliography 786 Index 804 The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism-the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages-powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Part) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism. "Medievalism--broadly construed as the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--has left a powerful mark in both art music and popular music culture of the past two centuries. The Oxford Handbook of Music and Medievalism provides a snapshot of the growing field of medievalism in music by bringing together international scholars to explore a wide variety of past and present genres in which medievalism is present. The handbook is organized into six sections and takes up musical topics in the nineteenth, twentieth, and twenty-first centuries, in genres as far reaching as opera, orchestral music, film, musicals, heavy metal, folk rock, and video games"--Publisher's description "Medievalism-broadly construed as the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages-has left a powerful mark in both art music and popular music culture of the past two centuries. The Oxford Handbook of Music and Medievalism provides a snapshot of the growing field of medievalism in music by bringing together international scholars to explore a wide variety of past and present genres in which medievalism is present. The handbook is organized into six sections and takes up musical topics in the nineteenth, twentieth, and twenty-first centuries, in genres as far reaching as opera, orchestral music, film, musicals, heavy metal, folk rock, and video games"-- Provided by publisher The Oxford Handbook of Music and Medievalism brings together international scholars from a wide range of disciplines to provide a snapshot of the diverse ways in which medievalism-the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages-powerfully transforms many of the varied musical traditions of the last two centuries.