What might strike some as Arden of Faversham’s faulty construction may perhaps be ascribed to the fact that Arden’s murderers, as well as the play’s audience, had to learn how to “temper poison” (i.229). Poison is not simply a means to commit murder, its use also requires great dexterity, one which must be interpreted within a historical and metat…[Read more]

A book project with the goal of documenting commercially produced recordings of Negro spirituals composed for solo concert vocalists. Portions of this information is currently available on the online site, The Spirituals Database (http://spirituals-database.com).

Over 5,600 entries cover more than a century of recordings on compact discs,…[Read more]

This co-authored piece introduces our co-edited volume ‘Dreams of Germany’. It explores how, where and by whom notions of ‘musical Germanness’ have been constituted in the modern era, and to what effect. Picking up on ideas first explored systematically by Celia Applegate and Pamela Potter in their 2002 collection ‘Music and German National…[Read more]

As Anne Sauvagnargues suggests, in Gilles Deleuze thought “every[-thing] is defined as an assemblage of movements and affective vibrations.” Interestingly, Sauvagnargues’ proposition aligns neatly with Tim Ingold’s idea of correspondence, where things perdure, “carry on together, and answer to one another,” and where the additive ‘and…and.…[Read more]

Évora tem sido um importante centro de culto mariano desde a Idade Média, com a dedicação do altar-mor da Catedral a Nossa Senhora da Assunção como ponto central. Foi também um importante centro musical e a antífona Recordare, Virgo Mater é uma das obras musicais associada à festa mariana conhecida como o Milagre da Cera. Um dos mestres de capela…[Read more]

Kinds of unity, modes of union—why bother? Does Leibniz ever focus on “union”, anyway? It is not before 1713 that Leibniz gets rid of certain metaphysical concerns which, although secondary for him, were present to his mind since the time of his 1708 answer to Tournemine, who had bespoken a “real union” between the soul and the body (GP VI, 595-9…[Read more]

A celebração de novenas, assim como de septenários e trezenas, constitui uma importante manifestação de devoção popular desde o século XVIII até à atualidade, funcionando de forma parela à liturgia regular. O repertório musical escrito para estas ocasiões percorria praticamente todas as camadas da sociedade, com graus de complexidade diferente, c…[Read more]

The author is examining the interplay between voice and sculpture, within the field of sound art. The term ‘sculpture’ has been appropriated by many artists to define their work with the voice. Exploring the sculpted voice, three main categories are here identified: the plastic dimension of voice as a sculptable material, the sculptural…[Read more]

Of the various hermeneutic approaches to the study of music developed in the last half century or so, narratological analysis has gone further than many in navigating a path that draws on both cultural and structural contexts. This overview of the development of narrative theory in music charts the course of three “waves” of narratological eng…[Read more]

Availability of vocal music scores compilations containing art songs by African American composers. Supplemental content accompanying the book, So You Want to Sing Spirituals.

This study of Leibniz’s philosophical views on mathematics starts from the rank he assigned to them in the encyclopedia of knowledge. Mathematics, in many Leibnitian writings, is proposed to other disciplines as an example to follow: they are an essential component of the new, at the same time encyclopaedic and demonstrative knowledge he is…[Read more]

Leibniz was undoubtedly a many-sided man, and a polymathic mind, if ever there was one. The concept of analysis is notoriously, for its part, a polycephalous monster, and nearly all its meanings are spread through Leibniz’s works, in juridical, scientific, mathematical, or philosophical contexts, under different conditions and with different p…[Read more]

ABSTRACT
What is musical time? Where is it manifested? How does it show up in our experience, and how do we capture it in our analyses? “Enacting Musical Time” offers several answers to these questions by considering musical time as the form of the listener’s interaction with music. Building on evidence from music theory, phenomenology, c…[Read more]

In Castile, where the purity of blood supposedly did not allow the merchants access to the privileged, we found an extremely powerful and rich group, the Cargadores a Indias. This group was made up of international merchants, almost all from humble origins, in many cases converso, who rose socially in a vertiginous way. For this, they were…[Read more]

On 16 November 1436, Enea Silvio Piccolomini delivered the oration Audivi to the fathers of the Council of Basel, concerning the venue for the Union Council between the Latin Church and the Greek Church. He argued for the City of Pavia in the territory of the Duke of Milan. The oration reflected the tensions between conciliarism and the Papacy,…[Read more]

Based on ethnographic research that is part of a larger project on the role of music and sound among migrant Moroccan men in Italy, this article focuses
on ‘L-ḥərraga’, a song that narrates the voyage and the experience of undocumented migration that ends with the tragic death of a young
Moroccan man crossing the Mediterranean. Through ‘L-ḥər…[Read more]

Short biographies, with score and recordings information, of composers of concert spirituals for solo voice. Supplemental content accompanying the book, So You Want to Sing Spirituals.

Resources specifically about Negro spirituals or that reference performers, composers or other information related to spirituals. Supplemental content accompanying the book, So You Want to Sing Spirituals.

Sample of singers, arranged by voice type, and their recordings of concert spirituals. Supplemental content accompanying the book, So You Want to Sing Spirituals.