Crucifixion in Music

An Analytical Survey of Settings of the Crucifixus between 1680 and 1800

Häftad, Engelska, 2006

AvJasmin Melissa Cameron

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Unique yet diverse in its approach, The Crucifixion in Music examines how text is set in music through the specific musicological period from 1680 to 1800. The treatise focuses specifically on the literary text of the Crucifixus from the Credo of the Ordinary of the Roman Catholic Mass. Combining analytical theory and method to address musical rhetoric, semiotics, and theory, author Jasmin Cameron follows the Crucifixion through many settings in Baroque and Classical music.In this first title in Scarecrow Press's new series, Contextual Bach Studies, Cameron studies musical representations of the text, first through a discussion that establishes a theoretical framework, then by applying the framework to individual case studies, such as Johann Sebastian Bach's B Minor Mass. By studying the musical representation of the text, and the concepts and contexts to which the words refer, Cameron examines the way the treatment of a literary text fuses into a recognizable musical tradition that composers can follow, develop, modify, or ignore. With equal time given to the settings of the Crucifixus by composers before and after Bach's time, the reader is provided with a fuller historical context for Bach's genius. Cameron also combines the beliefs of past theorists with those of today, reaching a common ground among them, and providing a basis and analytical framework for further study.

Produktinformation

Utgivningsdatum2006-08-11
Mått229 x 153 x 25 mm
Vikt635 g
FormatHäftad
SpråkEngelska
SerieContextual Bach Studies
Antal sidor396
FörlagScarecrow Press
ISBN9780810858725

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Part 1 List of Figures and TablesPart 2 Reader's NotePart 3 Editor's ForewordPart 4 PrefacePart 5 AcknowledgmentsPart 6 Part I: The Liturgy and Its Musical ImplicationsChapter 7 1. The Crucifixus: An OverviewPart 8 Part II: Investigative ApproachesChapter 9 2. Music and Rhetoric: Representation of the Text as Conceived by Theorists of the Eighteenth CenturyChapter 10 3. Modern Analytical Views Relevant to the Subject and Their Relationship to RhetoricPart 11 Part III: AnalysisChapter 12 4. A Musical OverviewChapter 13 5. Analytical ResultsPart 14 Part IV: Case StudiesChapter 15 6. Adaptation of Preexisting Music for a Setting of the Crucifixus: J.S. Bach: Crucifixus from Mass in B Minor BWV 232Chapter 16 7. Organization of Texture and Text: Caldara: Crucifixus a 16 VociChapter 17 8. A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 VociChapter 18 9. A Rhetorical Analysis: Zelenka: Crucifixus from Missa Paschalis ZWV 7Chapter 19 10. Textual Influence: Vivaldi: Crucifixus from Credo RV 591Chapter 20 11. Constraints of Style: Lotti: Crucifixus Settings for Six and Ten VoicesChapter 21 12. Orchestral Practice and Crucifixus Conventions: Mozart, Haydn, and BeyondPart 22 Part V: SummaryChapter 23 13. The Crucifixus Tradition: Patterns of Influence and Modes of TransmissionChapter 24 14. General OverviewPart 25 AppendixesChapter 26 A. Crucifixus SettingsChapter 27 B. Rhythmic Variants for Setting the Word "Crucifixus"Chapter 28 C. A Comparison of Bach's Setting of the Crucifixus from the Mass in B Minor BWV 232 and the First Part of the Opening Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12Chapter 29 D. A. Caldara (8): Crucifixus a 16 VociChapter 30 E. F.G. Bertoni (5): Crucifixus con Organo a 4 VociChapter 31 F. A. Vivaldi (95): Crucifixus from Credo RV 591Chapter 32 G. A. Lotti (59): Crucifixus a 6Chapter 33 H. A Lotti (60): Crucifixus a 10Chapter 34 I. W.A. Mozart (84): Crucifixus from Krönungs-Messe KV 317Chapter 35 J. F.J. Haydn (39): Crucifixus from Missa in Tempore BelliChapter 36 K. D. Cimarosa (16): Messa a 4 con StromentiPart 37 BibliographyPart 38 General IndexPart 39 Musical IndexPart 40 About the Author