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|a Sacred and secular intersections in music of the long Nineteenth Century
|b church, stage, and Concert Hall
|c edited by Eftychia Papanikolaou and Markus Rathey
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|c [2022]
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|t Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- Introduction -- Notes -- Bibliography -- Part I: Religion, Music, and the Romantic Imagination -- Chapter 1: Music for the "Cultured Despisers" of Religion: Schleiermacher on Singing in Church and Beyond -- Notes -- Bibliography -- Chapter 2: The Cross and the Wanderer: From the Sacred to the Secular in the Early Nineteenth Century -- Notes -- Bibliography -- Chapter 3: The Sacred Looking Glass: Imaginative Children's Music as Syncretic Nexus -- Images of Childhood -- Perfected Praise: Children's Hymn Books -- The Emergence of Imaginative Children's Music -- Quotation and Stylization -- The Praying Child -- Bells, Churches, and Religious Devotion -- Angels, Demons, and Aetonormativity -- Notes -- Bibliography -- Part II: Sacred and Secular Drama on the Stage -- Chapter 4: Reassessing Robert Schumann's Motivations for Composing a Mass and Requiem -- Introduction -- Reception History of the Sacred Works -- Hoffmann and Thibaut on Sacred Music -- Schumann on Sacred Music -- Schumann in Düsseldorf: Conducting and Composing Sacred Music -- Conclusion -- Notes -- Bibliography -- Chapter 5: Spirituality and the Fugal Topos in the Secular Dramatic Works of Robert Schumann -- Nature as Iconic Topic -- Spirituality as Indexical Topic -- The Natural and the Divine -- The Music Symbol -- Nature as Spiritual Redemption -- Conclusion -- Notes -- Bibliography -- Chapter 6: Hieratic Iconoclasm: Liszt, Hanslick, and the Graner Festmesse -- Revolution and Religion -- The Road to the Missa solemnis zur Einweihung der Basilika in Gran -- "Die Graner Domweihe" -- Vienna, 1858 -- Afterglow -- Notes -- Bibliography -- Chapter 7: Sacred Moments in the Secular Dramatic Works of Arthur Sullivan -- Sullivan's Early Life and Education -- Sullivan's Sacred Oeuvre -- Hymnody.
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|a The book explores interconnections of the sacred and the secular in music of the long nineteenth century. It investigates manifestations of religion in music not primarily intended for liturgical performance and assesses compositions that originated in a liturgical context but then migrated in their performance into a non-liturgical sphere.
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