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Editor: Ulrich Konrad
Das Kirchenmusikalische Jahrbuch bietet ein ökumenisches Forum für wissenschaftliche Studien zum weiten Feld der liturgischen, geistlichen und religiösen Musik vom Altertum bis zur Gegenwart.
Kirchenmusik im engsten Sinne als Musik zur Liturgie bis hin zu allen Formen religiöser Musik im weitesten Sinne umfasst ein kaum überschaubares Repertoire an Werken aus der kulturgeschichtlichen Spanne von der Antike bis zur Gegenwart. Das Kirchenmusikalische Jahrbuch erforscht dieses Repertoire jenseits konfessioneller Grenzen und zeigt sich offen für analytische, historische, philologische, soziologische, theologische und hermeneutische Methoden.

(= Past & Present 234, Suppl. 12 [2017), v. a. die Einführung von Kat Hill: »Making Lutherans«, S. 9–32. 3 Vgl. zum Beispiel Ulms im frühen 17. Jahrhundert Philip Hahn: »Lutheran Sensory Culture in Context«, in: ebd., S. 90–113, hier: S. 100–112. 4 Vgl. den Auszug »Aus dem Psalter D. Nicolai Selnecceri

In: Musik und Reformation – Politisierung, Medialisierung, Missionierung

Antiquity to Present Time , Tel-Aviv 2001, S. 93–102. Vgl. auch Thomas Kren, Scot McKendrick (Hgg.), Illuminating the Renaissance. The Triumph of Flemish Manuscript Painting in Europe (Ausstellungskatalog The J. Paul Getty Museum, Los Angeles und Royal Academy of Arts, London 2003), Los Angeles 2003. 23

In: Musik und Reformation – Politisierung, Medialisierung, Missionierung

. They very soon perceived that they would not succeed in bringing God into the lives of these peasants unless they presented Him first as God of flesh, as man among men, and suffering among men. The cross, the Passion and the Sacred heart were indispensable mediation and became obligatory aids to all

In: Musik und Reformation – Politisierung, Medialisierung, Missionierung

), S. 94 – 128 . Hausegger , Friedrich von : Die Musik als Ausdruck , Wien 2 1887 . Havelock , Eric A. : Preface to Plato , Cambridge/Mass. 1963 . Havelock , Eric A. : The Muse Learns to Write. Reflections on Orality and Literacy from Antiquity to the Present , New Haven 1986

In: Musik und Schrift

incongruee pour le Grand Duc et il … a tellement … faisi le Remarque de l’acteur que la pièce ne sera point donnée et qu’il a fait present de 50 Ducats à l’auteur. Malgré cette observateur le Grand Duc sera regale des fureurs d’Ocerte pour avoir tué la ire, dans un opera allemande et de la fable de Neogné

In: Europäischer Musiktransfer
In: Groove: An Aesthetic of Measured Time
What is the relationship between music and time? How does musical rhythm express our social experience of time? In Groove: An Aesthetic of Measured Time, Mark Abel explains the rise to prominence in Western music of a new way of organising rhythm: groove. He provides a historical account of its emergence around the turn of the twentieth century, and analyses the musical components which make it work.
Tracing the influence of key philosophical arguments about the nature of time on musical aesthetics, Mark Abel draws on materialist interpretations of art and culture to challenge those, like Adorno, who criticise popular music’s metrical regularity. He concludes that groove does not simply reflect the temporality of contemporary society, but, by incorporating abstract time into its very structure, is capable of effecting a critique of it.
In discoursing on music, three early modern Jewish scholars stand out for their originality. The first is Judah Moscato, who, as chief rabbi in Mantua, preached sermons, one of them on music: there Moscato presents music as a cosmic and spiritual phenomenon. The second scholar is Leon Modena, the foremost Jewish intellectual in early seventeenth-century Venice. Modena deals with music in two responsa to questions put to him for rabbinical adjudication, one of them an examination of biblical and rabbinical sources on the legitimacy of performing art music in the synagogue. Abraham Portaleone, the third scholar, treated music in a massive disquisition on the Ancient Temple and its ritual, describing it as an art correlating with contemporary Italian music. The introduction surveys the development of Hebrew art music from the Bible through the Talmud and rabbinical writings until the early modern era. The epilogue defines the special contribution of Hebrew scholars to early modern theory.
Over time Dutch and Indonesian composers, performers and music scholars have inspired each other and they continue to do so. The presence of the Dutch in the Netherlands East-Indies and Indonesia, but also the existence of large diasporic communities in the Netherlands have contributed to a mutual exchange in musical terms: from military brass bands, classical and liturgical music to jazz, Indo rock and more recently world music. Yet, such musical interactions have often been shaped by unequal power balances, and very divergent motifs to start with. Recollecting Resonances offers musicological, historical and anthropological explorations into those musical encounters that have been shaped in both the past and present. The resulting mutual heritage can still be listened to today.
Contributors include: Bart Barendregt, Els Bogaerts, Liesbeth Ouwehand, Gerard A. Persoon, Sumarsam, Miriam Brenner, R. Franki S. Notosudirdjo, Henk Mak van Dijk, Madelon Djajadiningrat, Clara Brinkgreve, Wim van Zanten, Matthew Cohen, Lutgard Mutsaers, Rein Spoorman, Annika Ockhorst, and Fridus Steijlen.