By Markus Rathey
Each year, Johann Sebastian Bach’s significant vocal works are played to mark liturgical milestones within the Christian calendar. Written via a well known Bach pupil, this concise and available e-book offers an creation to the song and cultural contexts of the composer’s such a lot loved masterpieces, together with the Magnificat, Christmas Oratorio, and St. John Passion.
as well as delivering ancient details, each one bankruptcy highlights major aspects—such because the theology of love—of a selected piece. This penetrating quantity is the 1st to regard the vocal works as a complete, displaying how the compositions have been embedded of their unique performative context in the liturgy in addition to discussing Bach’s musical variety, from the precise point of person hobbies to the overarching points of every paintings. released within the method of Easter while a lot of those vocal works are played, this extraordinary quantity will entice informal concertgoers and students alike.
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Extra resources for Bach's Major Vocal Works: Music, Drama, Liturgy
The example of Tôt ou Tard reveals that there is, under the aegis of the majors, room for the long-term support of a supposedly non-mainstream group. Têtes Raides’ success did not happen overnight, and the label was cautious in its management of their mediatization, targeting an ‘alternative’ audience with appropriate visually based strategies (such as packaging), as well as privileging touring over mainstream broadcast for instance. This also corresponded to the desire of the artists, for whom musicianship is ‘a form of danger, challenging the danger of routine’, including the routine of mass media exposure (in Paquotte, 2001, p.
Alternative Tentacles, label of the US punk band Dead Kennedys, mixed left-wing anti-Establishment sentiment with the pursuit of economic independence (Benetollo, 1999, pp. 114–15). Rough Trade, an independent label founded in London in 1976, created a distribution network outside the hold of the majors, and a ‘democratic’ form of management by sharing profits equally between artists and producers (Reynolds, 2005, p. 104; Hesmondhalgh, 1997, p. 260). Marsu saw these two companies as prime examples of ‘political rigour’ and ‘musical seriousness’, which have managed to challenge the status quo of the dominant music industry by holding irreproachable moral principles.
123; Klein, 1995, p. 64). In 1985, a survey of patterns of music consumption and ‘lifestyles’ in France similarly suggested that the charts were for conservative listeners and were about ‘pure’ entertainment rather than reflection, conferring by contrast the positive values of ‘adventure’ and ‘rigour’ upon rock music (Mermet, 1985, p. 366). Drawn up in a supposedly impartial way, this survey nonetheless took for granted many parameters, including the idea that hedonism and seriousness could never go together, and that rock music never featured in the charts, which it in fact did.