The Museum of Renaissance Music: A History in 100 Exhibits
Soft / Music Magazines
26-06-2023
This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts - materials, tools, instruments, art objects, images, texts, and spaces - and their witness to the priorities and activities of people in the past as they addressed their world through music.
The result is a history by collage, revealing overlapping musical practices and meanings - not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music's central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field.
home page:
https://goo.su/LEJSzLo
The result is a history by collage, revealing overlapping musical practices and meanings - not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music's central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field.
home page:
https://goo.su/LEJSzLo
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Soft / Music Magazines
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The Oxford Handbook of Music and World Christianities investigates music's role in everyday practice and social history across the diversity of Christian religions and practices around the globe. The volume explores Christian communities in the Americas, Europe, Africa, Asia, and Australia as sites of transmission, transformation, and creation of deeply diverse musical traditions.
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Soft / Music Magazines
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Soft / Music Magazines
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Soft / Music Magazines
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The idea of a global history of music may be traced back to the Enlightenment, and today, the question of a conceptual framework for a history of music that pays due attention to global relationships in music is often raised. But how might a historical interpretation of those relationships proceed? How should it position, or justify, itself? What would 'Western music' look like in an account of music history that aspires to be truly global?
The studies presented in this volume aim to promote post-European historical thinking. They are based on the idea that a global history of music cannot be one single, hegemonic history.