Markus Rathey
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780190275259
- eISBN:
- 9780190275273
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190275259.003.0002
- Subject:
- Music, History, Western
The chapter traces shifts in the way Christmas was celebrated in the second half of the seventeenth and the early eighteenth century. Theologians increasingly criticized carnivalesque rituals that ...
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The chapter traces shifts in the way Christmas was celebrated in the second half of the seventeenth and the early eighteenth century. Theologians increasingly criticized carnivalesque rituals that had survived the Lutheran Reformation. Historical sources report riotous pageants (“Christmas larvae”; “Heilig Christ” plays), some of which even led to arrests. Instead, Christmas was to be understood as a celebration of an internalized piety. The birth of Jesus was metaphorically understood as his birth in the human heart. Leipzig was one of the centers of this struggle over Christmas. Several authors (esp. Johann Gabriel Drechssler and Christian Weise) with a connection to the city wrote treatises condemning the older practices and suggested a new understanding of the feast. Librettists and composers, such as Paul Thymich, Johann Schelle, and Johann Magnus Knüpfer reflected these shifts as well.Less
The chapter traces shifts in the way Christmas was celebrated in the second half of the seventeenth and the early eighteenth century. Theologians increasingly criticized carnivalesque rituals that had survived the Lutheran Reformation. Historical sources report riotous pageants (“Christmas larvae”; “Heilig Christ” plays), some of which even led to arrests. Instead, Christmas was to be understood as a celebration of an internalized piety. The birth of Jesus was metaphorically understood as his birth in the human heart. Leipzig was one of the centers of this struggle over Christmas. Several authors (esp. Johann Gabriel Drechssler and Christian Weise) with a connection to the city wrote treatises condemning the older practices and suggested a new understanding of the feast. Librettists and composers, such as Paul Thymich, Johann Schelle, and Johann Magnus Knüpfer reflected these shifts as well.
Wanda Brister and Jay Rosenblatt
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781949979312
- eISBN:
- 9781800341449
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979312.003.0003
- Subject:
- Music, History, Western
Dring’s musical education took place at the Royal College of Music, beginning in the Junior Department at the same time as her formal education in Roman Catholic grade schools. Her mentors included ...
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Dring’s musical education took place at the Royal College of Music, beginning in the Junior Department at the same time as her formal education in Roman Catholic grade schools. Her mentors included Percy Buck and Angela Bull, who together directed the Department. Dring also benefited from the encouragement of the directors of the RCM, Hugh Allen and George Dyson. Principal teachers included Betty Barne and Freda Dinn for violin, Jewel Evans and Lilian Gaskell for piano, and Stanley Wolff and Leslie Fly for composition. Important first performances of her music took place on the BBC radio broadcast of the “Children’s Hour” and at a concert at Lambeth County Hall. As an actor, Dring’s participation in the yearly Christmas play is documented, and as an example of her musical style, her Fantasy Sonata (In one movement) is examined in detail. The effect of the beginning of World War II is considered from Dring’s point of view, specifically in the way it affected a teenage girl at the Royal College of Music.Less
Dring’s musical education took place at the Royal College of Music, beginning in the Junior Department at the same time as her formal education in Roman Catholic grade schools. Her mentors included Percy Buck and Angela Bull, who together directed the Department. Dring also benefited from the encouragement of the directors of the RCM, Hugh Allen and George Dyson. Principal teachers included Betty Barne and Freda Dinn for violin, Jewel Evans and Lilian Gaskell for piano, and Stanley Wolff and Leslie Fly for composition. Important first performances of her music took place on the BBC radio broadcast of the “Children’s Hour” and at a concert at Lambeth County Hall. As an actor, Dring’s participation in the yearly Christmas play is documented, and as an example of her musical style, her Fantasy Sonata (In one movement) is examined in detail. The effect of the beginning of World War II is considered from Dring’s point of view, specifically in the way it affected a teenage girl at the Royal College of Music.
