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A history of the Collegiate Church and Cathedral, 1421 to the present
Editor: Jeremy Gregory

Founded in 1421, the Collegiate Church of Manchester, which became a cathedral in 1847, is of outstanding historical and architectural importance. But until now it has not been the subject of a comprehensive study. Appearing on the 600th anniversary of the Cathedral’s inception by Henry V, this book explores the building’s past and its place at the heart of the world's first industrial city, touching on everything from architecture and music to misericords and stained glass. Written by a team of renowned experts and beautifully illustrated with more than 100 photographs, this history of the ‘Collegiate Church’ is at the same time a history of the English church in miniature.

Open Access (free)
The soundscape of Ingmar Bergman’s Smiles of a Summer Night
Alexis Luko

Merry Widow . 9 The music is rich and eclectic, drawn from the classical music canon, sacred music, and newly composed music by Erik Nordgren. 10 This chapter examines comedic moments in Smiles of a Summer Night and the soundscapes in which they are embedded. I explore how music intersects with three different theories on humour. First is the ‘superiority theory’, which accounts for humour that exists at the ‘expense of characters who are particularly stupid, vain, greedy, cruel, ruthless, dirty, and

in Ingmar Bergman
Brian Pullan

opera houses. But in Venice, a few musically gifted girls, perhaps forty of the six hundred females in the conservatory of the Pietà, had the chance to escape drab manual work and even become star performers acclaimed by audiences in the hospital church. In other countries, concerts of sacred music were demonstrating their power to attract fashionable audiences and raise money for charities, as did the first presentation of Handel’s Messiah in Dublin in 1742; the composer would become a governor of the London Foundling Hospital in 1750, and the hospital benefit until

in Tolerance, Regulation and Rescue
Kate Bowan and Paul A. Pickering

Victorian text on music and social reform’ even though Haweis himself stated in a discussion of sacred music within the book that ‘the social effects of music’, although interesting, ‘lie a little outside the purpose of our present article’. 6 Significantly, while traversing a range of subjects from musical psychology to the relationship of sound and colour, the work has at its

in Sounds of liberty
Abstract only
Simon Ditchfield and Helen Smith

, identifying new evidence for the particular compositions that accompanied and shaped these important occasions. Her chapter allows us a rare glimpse into lay women’s engagement with sacred music, and encourages us to consider not only how music and ritual might be ‘converted’ to reformed ends in the nascent Protestant church, but also how women might ‘convert’ public and festive occasions to meet their own

in Conversions
Jill Liddington

. The house will be open from 4 pm on Sunday April 2, to 4 pm on Monday April 3. There will be various entertainments. Sacred music, recitations, speeches, and (after 12 midnight) a whist drive will take place. Rooms will be set aside for those wishing to sleep. Please bring refreshments, rugs and cushions. Musical friends should bring their instruments. Every evader is asked to make it a solemn duty to bring at least ten women with her. And she followed this up with publicizing a ‘Census Sunday’ At Home at her ‘Census Lodge’, the address undisclosed, still remaining

in Vanishing for the vote
Struggles for power over a festival soundscape
Lorenzo Ferrarini

campsite. Control of sound and strategies of power The Church’s attempts to control the soundscape of European festivals date back to at least medieval times. Attali mentions a series of decrees from thirteenth- and fourteenth-century ecumenical councils forbidding musical processions from circling churches, and anyone from singing and dancing in them ( 1977 : 22). The mid-sixteenth-century Council of Trent rigorously defined the characteristics of sacred music in the context of counter-reformation, prohibiting profane music in church and drastically reducing

in Sonic ethnography
Trauma, history, myth
Guy Austin

upon by the French, is the first indication that Ali is on the point of entering the elevated, illuminated realm of the ideal (in this case, of martyrdom). The glimpse of light is followed by the opening strains of the Bach-inspired sacred music (by Ennio Morricone) that has soundtracked moments of suffering and trauma throughout the film. This is interrupted by the drums of the opening credits and the arrival of the paras, as the

in Algerian national cinema
Fernando Arrabal and the Spanish Civil War
David Archibald

footage. 19 Fando’s young friend, Thérèse (Jazia Klibi), informs him that his ‘father has escaped with the maquis’ and the film concludes with a shot of Thérèse pushing a cart carrying Fando up the hill that appeared in the opening sequence. Before disappearing out of view, they pass another military truck, a voice from which repeats the refrain from the film’s opening sequence. In the closing shot, the camera tilts skywards against the sound of rather incongruous sacred music. Cured medically, and freed from the strictures of matriarchal control, Fando departs his

in The war that won't die
RE/Search Publications, the bookshelf question and ideational flow
S. Alexander Reed

his friends visit, they demonstrate Curtis’s status as a tastemaker (and by extension a self-maker) to us, the audience. They paw through his records and magazines, absorbing them. Corbijn synchronises the display of this collection with Bowie’s ode to teenage discovery as it shifts from film soundtrack to Curtis’s diegetic listening: we are the ravers, and this is our crash course. Control is not alone in ogling Curtis’s bookshelf, but instead it faithfully stages culture’s desire to know what books lay upstream of Joy Division’s sacred music: just months after the

in Ripped, torn and cut