Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Aaron Williams (1)
- Anna de' Medici (1)
- Anthony of Padua (1)
- Barbara Strozzi (1)
- Daniel Bayley (1)
-
- Dissenting music (1)
- Divine Musical Miscellany (1)
- Evangelical hymnody (1)
- George Whitefield (1)
- Hymn Tune Index (1)
- Innsbruck (1)
- John Cennick (1)
- John Wesley (1)
- Josiah Flagg (1)
- Methodist music (1)
- Moorfields Tabernacle (1)
- Robert Seagraves (1)
- Seventeenth-century sacred music (1)
- Thomas Butts (1)
- Thomas Knibb (1)
- Venice (1)
Articles 1 - 2 of 2
Full-Text Articles in History
Relics, Processions And The Sounding Of Affections: Barbara Strozzi, The Archduchess Of Innsbruck, And Saint Anthony Of Padua, Sara M. Pecknold
Relics, Processions And The Sounding Of Affections: Barbara Strozzi, The Archduchess Of Innsbruck, And Saint Anthony Of Padua, Sara M. Pecknold
Yale Journal of Music & Religion
In 1655, Barbara Strozzi issued her fifth and only sacred opus, the Sacri musicali affetti, a print comprising fourteen passionately religious motets for solo voice and continuo. This article demonstrates how Strozzi's final motet to Saint Anthony reflects a surge in trans-Alpine Antonine devotion--a devotional trend in which both Strozzi's dedicatee, Anna de' Medici, and possibly the composer herself, participated. This essay examines two particular events: a procession of Saint Anthony’s relics from Venice to Padua in 1652, and the founding of a Antonine confraternity at the court of Innsbruck in the same year. When these phenomena are examined …
Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini
Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini
Yale Journal of Music & Religion
Evangelical hymnody was the most significant form of popular sacred song in eighteenth-century Anglo-America. John and Charles Wesley built their Methodist movement on it, but little is known about the music of their great collaborator and eventual rival, George Whitefield (1714-1770). The essential sources of Whitefield's music are the development of ritual song at his Moorfields Tabernacle in London, his Collection of Hymns for Social Worship (1753) prepared for that congregation, and a little-known tunebook called The Divine Musical Miscellany (1754) that contains the first and definitive repertory of music known to be sung at Moorfields. This essay recovers Whitefield's …