Natasha O'Hear
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199590100
- eISBN:
- 9780191725678
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199590100.003.0002
- Subject:
- Religion, Church History
Chapter 1 presents the Lambeth Apocalypse Manuscript (hereafter Lambeth) as a key example of the thirteenth‐century Anelo‐Norman illustrated Apocalypse devotional manuscript tradition. This ...
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Chapter 1 presents the Lambeth Apocalypse Manuscript (hereafter Lambeth) as a key example of the thirteenth‐century Anelo‐Norman illustrated Apocalypse devotional manuscript tradition. This manuscript tradition and its particular features are discussed, as a precursor to the analysis of Lambeth itself. The Berengaudus Commentary, the commentary which accompanies many of the Anglo‐Norman Apocalypses, including Lambeth, is also discussed as is its place within the tradition of commentaries on the Book of Revelation in general. The remainder of the chapter is concerned exclusively with the distinctive features of Lambeth, including its female patron, the presentation of the John figure, the effect of the additional miniatures, and its visual interweaving of contemporary theological and wider issues within its presentation of the source‐text. The nature of the Lambeth reading/viewing experience and in particular the effect of the interaction between the text, commentary, and miniatures remain in focus throughout the chapter.Less
Chapter 1 presents the Lambeth Apocalypse Manuscript (hereafter Lambeth) as a key example of the thirteenth‐century Anelo‐Norman illustrated Apocalypse devotional manuscript tradition. This manuscript tradition and its particular features are discussed, as a precursor to the analysis of Lambeth itself. The Berengaudus Commentary, the commentary which accompanies many of the Anglo‐Norman Apocalypses, including Lambeth, is also discussed as is its place within the tradition of commentaries on the Book of Revelation in general. The remainder of the chapter is concerned exclusively with the distinctive features of Lambeth, including its female patron, the presentation of the John figure, the effect of the additional miniatures, and its visual interweaving of contemporary theological and wider issues within its presentation of the source‐text. The nature of the Lambeth reading/viewing experience and in particular the effect of the interaction between the text, commentary, and miniatures remain in focus throughout the chapter.
John Spitzer (ed.)
- Published in print:
- 2012
- Published Online:
- March 2013
- ISBN:
- 9780226769769
- eISBN:
- 9780226769776
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226769776.001.0001
- Subject:
- Music, History, American
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today, but audiences of that era enjoyed far more diverse ...
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Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today, but audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall, and what they heard were not just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, it considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players.Less
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today, but audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall, and what they heard were not just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, it considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians' unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players.
