The Oxford Handbook of Music and Medievalism

2020 ◽  
Keyword(s):  
Heavy Metal ◽  
Video Games ◽  
Popular Music ◽  
Middle Ages ◽  
Art Music ◽  
Orchestral Music ◽  
Music Culture ◽  
The Past ◽  
Film Musicals ◽  
Music Film

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.

Introduction

2020 ◽  
pp. xviii-14
Author(s):  
Kirsten Yri ◽  
Stephen C. Meyer
Keyword(s):  
Popular Music ◽  
Middle Ages ◽  
Art Music ◽  
Music Culture ◽  
Medieval Studies ◽  
Performance Practices ◽  
Scientific Methods ◽  
Medieval Music ◽  
Nineteenth And Twentieth Centuries ◽  
The Middle Ages

Medievalism—broadly construed as 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 nineteenth and twentieth centuries. Picking up with the extent to which the distinction between medievalism and medieval studies is possible and/or desirable, the introduction acknowledges that medievalism involves multiple discourses of the Middle Ages, and even when its goal is recovery, it is embroiled as much in contextual modes as in scientific methods. As the chapter discusses, questions about authenticity and intentionality central to much of the scholarship on music histories of the Middle Ages, performance practices of medieval music, and medieval music revivals are valid, but they are called on to speak in a complex sociohistorical and aesthetic analysis. The introduction also provides an overview of several taxonomies that inform the theorization of medievalism as well as an overview of the six sections of the handbook and some of the themes (nationalism, romanticism, rejections of modernism) that connect them.

scholarly journals The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite

2014 ◽  
Vol 7 (2) ◽  
Author(s):  
Andra Ivănescu
Keyword(s):  
Video Games ◽  
Popular Music ◽  
Time Travel ◽  
Pop Music ◽  
David Lynch ◽  
The Third ◽  
The Past ◽  
Player Experience ◽  
One Step ◽  
Player Experiences

Filmmakers such as Kenneth Anger, David Lynch and Quentin Tarantino have taken full advantage of the disconcerting effect that pop music can have on an audience. Recently, video games have followed their example, with franchises such as Grand Theft Auto, Fallout and BioShock using appropriated music as an almost integral part of their stories and player experiences. BioShock Infinite takes it one step further, weaving popular music of the past and pop music of the present into a compelling tale of time travel, multiverses, and free will. The third installment in the BioShock series has as its setting the floating city of Columbia. Decidedly steampunk, this vision of 1912 makes considerable use of popular music of the past alongside a small number of anachronistic covers of more modern pop music (largely from the 1980s) at crucial moments in the narrative. Music becomes an integral part of Columbia but also an integral part of the player experience. Although the soundscape matches the rest of the environment, the anachronistic covers seem to be directed at the player, the only one who would recognise them as out of place. The player is the time traveller here, even more so than the character they are playing, making BioShock Infinite one of the most literal representations of time travel and the tourist experience which video games can represent.

The Stax sound: a musicological analysis

Popular Music ◽  
1995 ◽  
Vol 14 (3) ◽  
pp. 285-320 ◽  
Author(s):  
Rob Bowman
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Soul Music ◽  
The Past ◽  
Alan Moore ◽  
Stax Records

In recent times there has been an encouraging increase in the musicological study of Western popular music by members of the academy. Both Richard Middleton and Alan Moore have published important books that are emphatic about the need for such study (Middleton 1990; Moore 1993). Also there have been a number of articles in a variety of journals over the past several years that have either addressed the need for, suggested various approaches to, or actually taken a musicological approach to one or another aspect of popular music (Foret 1991; Brackett 1992; Hawkins 1992; Moore 1992; Taylor 1992; Walser 1992; Middleton 1993). Despite this flurry of activity, as far as this author is aware, there has been no academic musicological work, other than Robert Walser's recent study of heavy metal (Walser 1993), that has attempted to ferret out the component parts of a given genre through an analysis of a sizable body of repertoire. There is an acute need for such work if popular music scholars are going to begin to understand in concrete terms what is meant by terms such as rock, soul, funk, Merseybeat and so on. This essay is an attempt to begin such a study for the genre of southern soul music as it was manifested by Stax Records in Memphis, Tennessee.

Tudorism

2011 ◽  
Keyword(s):  
Social History ◽  
Middle Ages ◽  
Public History ◽  
Art Music ◽  
Historical Consciousness ◽  
Vantage Point ◽  
Modern World ◽  
Cultural Appropriation ◽  
Film And Television ◽  
The Past

An in-depth and wide-ranging academic investigation of the reception of the Tudor period in the modern world, this book includes studies by many of the leading scholars in their fields, and considers the modern appropriation of the Tudors in art, music, architecture, design, religion, public history, social history, film and television, and internet networking sites. A noteworthy scholarly trend in recent decades has been a growing interest in the ways in which societies utilise the past as a cultural resource, as a repertoire of quotable designs and styles, as a vantage point from which to frame political and social critiques, as a source of identities, and as a refuge from present-day anxieties. There has been a great deal of academic interest, for example, in the reception of the ancient world in modern Western culture. Likewise, a growing body of scholarship is devoted to the study of medievalism, the images, and ideas that attach to the Middle Ages in the post-medieval imaginary. It is striking that, in stark contrast, very little attention has been paid to the cultural appropriation of the Tudor age, despite the pronounced and enduring popularity of the Tudors within the popular historical consciousness, not only in Britain but also in many other countries. Indeed, the Tudors supply many of the signature icons of Britishness and the British monarchy around the world.

Les héritages chrétiens: quel avenir?

Moreana ◽  
2009 ◽  
Vol 46 (Number 176) (1) ◽  
pp. 175-190
Author(s):  
Bernard Bourdin
Keyword(s):  
European Union ◽  
Human Rights ◽  
Middle Ages ◽  
Critical Analysis ◽  
Religious Affiliation ◽  
The European Union ◽  
Modern Times ◽  
The Past ◽  
Religious Significance ◽  
Politics And Religion

The legacy from Christianity unquestionably lies at the root of Europe, even if not exclusively. It has taken many aspects from the Middle Ages to modern times. If the Christian heritage is diversely understood and accepted within the European Union, the reason is essentially due to its political and religious significance. However, its impact in politics and religion has often been far from negative, if we will consider what secular societies have derived from Christianity: human rights, for example, and a religious affiliation which has been part and parcel of national identity. The Christian legacy has to be acknowledged through a critical analysis which does not deny the truth of the past but should support a European project built around common values.

scholarly journals Play! A Special Issue

Sexualities ◽  
2021 ◽  
pp. 136346072110136
Author(s):  
Caroline Bem ◽  
Susanna Paasonen
Keyword(s):  
Video Games ◽  
Sexual Pleasure ◽  
Special Issue ◽  
Sexuality Studies ◽  
The Past ◽  
Sexual Representation ◽  
The Social ◽  
Sexual Play ◽  
Sex Toys

Sexuality, as it relates to video games in particular, has received increasing attention over the past decade in studies of games and play, even as the notion of play remains relatively underexplored within sexuality studies. This special issue asks what shift is effected when sexual representation, networked forms of connecting and relating, and the experimentation with sexual likes are approached through the notion of play. Bringing together the notions of sex and play, it both foregrounds the role of experimentation and improvisation in sexual pleasure practices and inquires after the rules and norms that these are embedded in. Contributors to this special issue combine the study of sexuality with diverse theoretical conceptions of play in order to explore the entanglements of affect, cognition, and the somatic in sexual lives, broadening current understandings of how these are lived through repetitive routines and improvisational sprees alike. In so doing, they focus on the specific sites and scenes where sexual play unfolds (from constantly morphing online pornographic archives to on- and offline party spaces, dungeons, and saunas), while also attending to the props and objects of play (from sex toys and orgasmic vocalizations to sensation-enhancing chemicals and pornographic imageries), as well as the social and technological settings where these activities occur. This introduction offers a brief overview of the rationale of thinking sex in and as play, before presenting the articles that make up this special issue.

Church Time and Astrological Time in the Waning Middle Ages

2002 ◽  
Vol 37 ◽  
pp. 117-132
Author(s):  
Hilary M. Carey
Keyword(s):  
Middle Ages ◽  
Missed Opportunities ◽  
The Past ◽  
Adam And Eve ◽  
Primary Qualities ◽  
The Future ◽  
Future Events ◽  
Scientific Claims ◽  
To Come

Time, according to medieval theologians and philosophers, was experienced in radically different ways by God and by his creation. Indeed, the obligation to dwell in time, and therefore to have no sure knowledge of what was to come, was seen as one of the primary qualities which marked the post-lapsarian state. When Adam and Eve were cast out of the garden of delights, they entered a world afflicted with the changing of the seasons, in which they were obliged to work and consume themselves with the needs of the present day and the still unknown dangers of the next. Medieval concerns about the use and abuse of time were not merely confined to anxiety about the present, or awareness of seized or missed opportunities in the past. The future was equally worrying, in particular the extent to which this part of time was set aside for God alone, or whether it was permissible to seek to know the future, either through revelation and prophecy, or through science. In the fourteenth and fifteenth centuries, the scientific claims of astrology to provide a means to explain the outcome of past and future events, circumventing God’s distant authority, became more and more insistent. This paper begins by examining one skirmish in this larger battle over the control of the future.

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