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A history of the Collegiate Church and Cathedral, 1421 to the present

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
Abstract only
Studies in theatre, religion and resistance

This book is about the real historical conditions of Shakespeare's art. Its argument is that Shakespeare's plays were written out of a profound engagement with the Europe of the Counter-Reformation, but that, if the dramatist can be aligned with any party, what he called 'our fashion' was the politique one of those moderate Catholics who reacted against the suicidal violence of the fanatics with a project of freedom of conscience and mutual toleration. The book is about what Shakespeare did not write. In view of the number of books published on what he did, this might seem perverse, but for the fact that Shakespeare's silence has become, in one respect, a focus of current interpretations of his life and work. The theme of the book is that the question which in fact resonates through Shakespeare's plays, of whether 'To be or not to be' was prompted by the existential crisis of this moment, when it would have been impossible for him not to share Hamlet's predicament. Critics are edging towards the implications of the revelation that, as Stephen Greenblatt concludes in his book Hamlet in Purgatory, Shakespeare 'was probably brought up in a Roman Catholic household in a time of official suspicion and persecution of recusancy', and are teasing out the textual traces that reveal how much he was 'haunted by the spirit of his Catholic father'.

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
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
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
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
Gillian Dooley

, Samuel Wesley and Samuel Arnold. Thomas Arne, a practising Catholic, was unable to contribute to the Church of England as a musician. He wrote a small amount of sacred music, but ‘as a Roman Catholic … he had no opportunity to have his sacred works performed in the Anglican Church’. 45 It was as a secular composer of mainly vocal and dramatic music that he was most celebrated. Gilman, in his book The theatre career of Thomas Arne , discusses the contemporary and continuing debates about the relative merits of Arne

in She played and sang
Gillian Dooley

entertainments’. 27 The pre-eminence of Handel applied in sacred music more than secular, and there was plenty of English music that was not displaced by the folk traditions of Scotland and Ireland. Her collection shows that she seemed to prefer ‘the English school’ to showy Italian opera, and although she had a few Italian songs in her repertoire they were not in a virtuosic style. 28 We have seen in Chapter 5 that she preferred sincere musicality and good acting to ‘singsong and trumpery’ in the theatre. In the music she chose

in She played and sang
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