By John F. A. Sawyer, Siobhán Dowling Long
There were various courses within the final many years at the Bible in literature, movie, and artwork. yet formerly, no reference paintings has but seemed at the Bible because it seems to be in Western song. within the Bible in track: A Dictionary of Songs, Works, and extra, students Siobhan Dowling lengthy and John F. A. Sawyer right this hole in Biblical reference literature, supplying for the 1st time a handy advisor to musical interpretations of the Bible. along examples of classical track from the center a while via sleek instances, Dowling lengthy and Sawyer additionally deliver realization to the Bible's effect on pop culture with various entries on hymns, spirituals, musicals, movie tune, and modern well known music.
Each access comprises crucial information regarding the unique context of the paintings (date, composer, etc.) and, the place suitable, its afterlife in literature, movie, politics, and liturgy. It comprises an index of biblical references and an index of biblical names, in addition to an in depth timeline that brings to the fore key occasions, works and courses, putting them of their old context. there's additionally a bibliography, a thesaurus of technical phrases and an index of artists, authors, and composers.
The Bible in track will fascinate someone accustomed to the Bible, however it can be designed to inspire choirs, musicians, musicologists, teachers, academics, and scholars of song and spiritual schooling to find and practice a few much less recognized items, in addition to assisting them to hear widely used tune with a clean knowledge of what it truly is approximately.
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Additional info for The Bible in Music: A Dictionary of Songs, Works, and More
16:16). In part 2, the role of “Babylon . . mother of harlots and of earth’s abominations” (Rev. 17:1–6) is sung by a soprano in first-person narration. The final movement, “The Millennium,” is composed of many well-known texts about the Second Coming of Christ, including “And I saw a new heaven and a new earth” (Rev. indb 17 8/3/15 6:40 AM 18 • APOSTLES, THE sung by a heavenly chorus of boys, a tenor solo with descending quintuplets in the accompaniment to paint the movement of “the water of life” (Rev.
ALEXANDER BALUS. Oratorio in three acts for soloists, chorus, and orchestra by Handel, with a libretto by Thomas Morell (HWV 65, 1747). Based on 1 Macc. 10–11, it tells the story of the involvement of High Priest Jonathan the Maccabee, chief of the Jews, in the wars between Alexander Balus, King of Syria (Mez), and Ptolomee, king of Egypt (B). Act 2 ends with Alexander’s wedding to the Egyptian king’s daughter Cleopatra (S), comprising a duet sung by the newlyweds (“Hail Wedded Love”) and two Wedding Choruses (“Triumph, Hymen, in the Pair” [added 1754] and “Hymen, Fair Urania’s Son”).
It was influenced by Striggio’s 40-part motet Ecce beatam lucem (1566) and features as the largest-known polyphonic work of the Renaissance. AGNUS DEI. (“Lamb of God”). The fifth movement of Fauré’s Requiem in D Minor for chorus, soloists, orchestra, and organ (op. 48, 1887–1890). It begins with an orchestral introduction in F major, featuring a delightful theme in triple meter played by the violas. The Agnus Dei is repeated three times, by the tenors, the chorus (sung with greater intensity and dynamic contrast), and the tenors again, with a recurrence of the viola theme this time on the organ.