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 Prt) 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. Cover The Oxford Handbook of MUSIC AND MEDIEVALISM Copyright Acknowledgments Contents Notes on Contributors Introduction Notes Section 1: ROMANTICIZING THE MEDIEVAL: THE LONGING FOR THE MIDDLE AGES IN THE NINETEENTH CENTURY Chapter 1: Medievalisms in Early Nineteenth-Century German Musical Thought Medieval Music: An Imprecise Definition Thibaut’s Über Reinheit der Tonkunst Kiesewetter on the Music of the Middle Ages Friedrich Heinrich von der Hagen, Professor Fischer, and Minnesang Conclusions Notes Chapter 2: From Knight Errantto Family Man: Romantic Medievalism in Brahms’s Romanzen aus L. Tiecks Magelone, op. 33 (1865–1869) The Middle Ages in Romantic and Realist Literature Romantic Medievalist Fantasies in Brahms’s Magelone Romanzen, Songs 1–8 A Realist’s Depiction of Love and Marriage, Songs 9–15 Tieck’s Narrative, Brahms’s Narrative, and a Reconciliation Acknowledgments Notes Chapter 3: Liszt’s Medievalist Modernism Liszt’s Authentic–Ecclesiastical–Liturgical Hunt Liszt and Plainchant Inventing Rhythms, Deriving Harmonies Liszt and the Cecilian Movement Medievalist Modernism? Half Gypsy, Half Franciscan Notes Chapter 4: Soldiers and Censors: Verdi’s Medieval Imagination Patriots and Poets: Perception of the Middle Ages in Nineteenth-Century Italy Silk and Sicilianas: Verdi’s Historical Accuracy Tartan and Tarantellas: The Middle Ages as Harmless Setting Sofas and Shepherds: Stiffelio Becomes Aroldo Notes Chapter 5: The Distant Past as Mirror and Metaphor: Portraying the Medieval in Historical French Grand Operas La Juive and Les Huguenots: Medievalism as National Critique La Reine de Chypre and Charles VI: Medievalism as National Reclamation Notes Chapter 6: Medievalism and Regionalist Identity in Lalo’s Le Roi d’Ys Le Roi d’Ys and French Musical Politics Le Roi d’Ys and the Regionalist Movement: Provence and Brittany Regionalist Music in Le Roi d’Ys Notes Chapter 7: Romantic Medievalist Nationalism in Schumann’s Genoveva, Then and Now Historical Background Background of Genoveva Church Music and the Politics of Confession Folk Song and the Lied Chivalry, Masculinity, and Nation Nineteenth-Century Reception of Genoveva (Then) Martin Kušej’s Production of Genoveva (Now) Notes Chapter 8: Richard Wagner’s Medieval Visions Chivalric Medievalism Civic Medievalism Mythic Medievalism Aftermath Notes Section 2: PERFORMING THE MIDDLE AGES Chapter 9: “What England Has Done for a Thousand Years”: Medievalism in Christmas Lessons and Carols Services An Overview of the History of Christmas Lessons and Carols Services Traditions and Identities at King’s College: Gender, Race, Timbre, and Authenticity New Medieval Carols at King’s College Conclusion Acknowledgments Notes Chapter 10: Medieval Folk in the Revivals of David Munrow Medievalism and Orientalism in the Early Music Revival Munrow’s Cultural Context: Understanding Popular Culture Ancestral Voices Munrow’s Caveat Conclusions Notes Chapter 11: Re-sounding Carl THEODOR Dreyer’s La Passion de Jeanne d’Arc Historical Background of Dreyer’s La Passion de Jeanne d’Arc Musical Accompaniments to Dreyer’s Film Medieval Music in Films about Jeanne d’Arc Voices Appeared and the Constraints of Repertoire Medievalism and the Realization of Voices Appeared Acknowledgments Notes Section 3: MEDIEVALISM AND COMPOSITIONAL PRACTICE IN THE TWENTIETH CENTURY Chapter 12: Medievalism and Antiromanticism in Carl Orff’s Carmina Burana Medievalism under Kaiser Wilhelm II and National Socialism Medievalism as Critique Engaging with Medieval Music Medievalism as Dualism Two-Storied Medievalism Conclusion Notes Chapter 13: Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins Medievalism and Gothic as Style in Twentieth-Century Music Creative Medievalism in Late Twentieth-Century British Music Margaret Lucy Wilkins Heavenly Image, Heavenly Song in Musica Angelorum Structuring Sound in Revelations of the Seven Angels Conclusions Notes Chapter 14: Hucbald’s Fifths and Vaughan Williams’s Mass: The New Medieval in Britain between the Wars Notes Chapter 15: The Return of Ars subtilior?: Rhythmic Complexity in the Chantilly Codex and in Selected Twentieth-Century Works Evocation Metric Structuring in Medievalist Music Adaptation: Structural Medievalism in Works by Ligeti, Carter, and Lutosławski Assimilation in Peter Maxwell Davies’s Piano Sonata Modern Proportion and Time-Value Notation as Assimilation of Medieval Practice Notes Chapter 16: Miserere: Arvo Pärt and the Medieval Present Liber Usualis: Origin Stories, Compositional Style, and Early Music Praxis Charta: Imprinting the Medieval Pärt, through Recording and Debate Coaevus: Receiving the Medieval Pärt in Film, in Theater, and on the Web Coda Notes Chapter 17: The Postmodern Troubadour Two Troubadour Operas Ekphrasis and Palimpsest Musical Palimpsests Conclusion Acknowledgments Notes Section 4: REIMAGINING THE MEDIEVAL WOMAN Chapter 18: Tolling Bells and Otherworldly Voices: Joan of Arc’s Sonic World in the Early Twentieth Century Tracing Jeanne’s Footsteps through the Remnants of the Medieval City Hearing Voices: Bells, Angels, and Demons What Music Belongs in Jeanne’s Medieval World? The Medieval and the National: Honegger’s Jeanne d’Arc au bûcher Notes Chapter 19: Medievalism and Rued Langgaard’s Romantic Image of Queen Dagmar Langgaard, Laub and the Melody for Queen Dagmar lies ill in Ribe Titles and Mottos in Langgaard’s Dagmar Symphony Notes Chapter 20: Nature, Reason, and Light in Vision—Ausdem Leben der Hildegard von Bingen The Grotesque in Vision The Middle Ages and the Sound of Nature Nature as Symbol of Reason From Darkness to Light Music, Nature, and Reason Acknowledgments Notes Chapter 21: Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch Gender and Courtly Love The Invention of Courtly Love Guinevere: Gender, Heritage, and the “Matter of Britain” From King Arthur to Camelot Donovan’s Guinevere Conclusion Notes Section 5: ECHOES OF THE MIDDLE AGES IN FOLK, ROCK, AND METAL Chapter 22: Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles Defining Early Music The Harpsichord as Signifier Humor Novelty Records History, Wealth, and Social Status The Beatles and Baroque Sound Notes Chapter 23: “Ramble On”: Medievalism as a Nostalgic Practice in Led Zeppelin’s Use of J. R. R. Tolkien Medievalism as a Nostalgic Practice “The Battle of Evermore” “Misty Mountain Hop” “Ramble On” Conclusion Notes Chapter 24: A Gothic Romance: Neomedieval Echoes of Fin’amor in Gothic and Doom Metal Gothic and Doom Styles, Fin’amor, and Neomedievalism Medievalistic Melancholia and Lovesickness Supplication, Domination, and Monstrous Women Beauty and the Beast Conclusion Notes Chapter 25: Viking Metal A Very Short History of Viking Metal The Sound of Viking Metal Lyrics, Themes, and Language Viking Metal and National Identity Conclusions Notes Chapter 26: Medievalism and Identity Construction in Pagan Folk Music The Roots of Modern Paganism Pagan Music in the Late Twentieth Century Pagan Folk Music in the Twenty-First Century Omnia Faun Conclusion Notes Section 6: MEDIEVALISM OF THE SCREEN Chapter 27: From the Music of the Ainur to the Music of the Voice-over: Music and Medievalism in The Lord of the Rings Interpreting Beowulf Disenchantment, Myth, History The Music of the Ainur Mythological Voice-over Historical Voice-over Phantasmagoric (Dis)enchantment Notes Chapter 28: Faith, Fear, Silence, and Music in Ingmar Bergman’s Medieval Vision of The Seventh Seal and The Virgin Spring The Seventh Seal Music and Downfall Music and Medieval Ritual: Forging Bonds Observation and Atemporality The Procession of the Flagellants: Expressing Religious Faith and Doubt through Music Medievalisms in The Virgin Spring Karin’s Song: Balladic Transformations Conclusion Notes Chapter 29: Hope against Fate or Fata Morgana? Music and Mythopoiesis in Boorman’s Excalibur Situating Excalibur: Authenticity and Nostalgia in Boorman’s Myth Going in Circles: Destiny and Fate The Setup: Two Dance Scenes and a Wedding The Fall of Camelot and Redemption through the Grail Conclusions Notes Chapter 30: The Many Musical Medievalisms of Disney Medievalism as Capitalism The Many Musical Medievalisms of Disney Acknowledgments Notes Chapter 31: Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America Precursors of the Evil Medieval The Evil Medieval from the 1970s to the Present The Sacred The Diabolical Conclusions: The Afterlife of a Cultural Trope Appendix Acknowledgments Notes Chapter 32: Fantasy Medievalism and Screen Media Prog Rock, Heavy Metal, Fantasy, and Medievalism Progressive Rock Heavy Metal Folk, Fantasy, and Medievalism Prog, Metal, and Folk as Fantasy Medieval Score Game of Thrones The Witcher Conclusions: Authenticity, Nostalgia, and New Fantasy Audiences Notes Chapter 33: Gaming the Medievalist World in Harry Potter Medievalism and Video-Game Music Sounding Medieval: Timbre and Instrumentation Sound Effects Acknowledgments Notes Selected Bibliography Index 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. 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"-- Provided by publisher