In 1899, a fundraising program for Berea College featured a group of students from the mountains of eastern Kentucky singing traditional songs from their homes. The audience was entranced. That small en-counter at the end of the last century lies near the beginning of an unparalleled national—and international—fascination with the indigenous music of a single state.
Kentucky has long figured prominently in our national sense of traditional music. Over the years, a diverse group of people—reformers, enthusiasts, the musically literate and the musically illiterate, radicals, liberals, a British gentleman and his woman companion, amateurs, local residents, and academics—have been sufficiently ...Read More
Nowhere is the richness and variety of the English Renaissance better shown than in the dramatic works of the period which combined to an unusual degree the arts of poetry, music, acting, and dance. This collection of essays by a number of distinguished scholars offers a series of views of the music of this drama—ranging from the mystery cycles still performed in the late sixteenth century to the cavalier drama of the early seventeenth.
The essays included here are mainly concerned with the minor dramatic forms—the mystery plays, the “entertainments,” the masques, and the works of such playwrights as Marston ...Read More
Jean-Baptiste Lully is perhaps best known in the history of music as the founder of French opera. Although Italian-born himself, he created a form of opera so suited to French tastes and needs that it alone, among the attempts of various other nations at operatic forms of their own, was able to resist domination by Italian opera and to maintain its individual identity during the seventeenth and eighteenth centuries.
The impress he made upon French music was enormous, and it affected every musical medium of his day. Evidence of his influence in a field as remote from his own as ...Read More
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