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Zusatztext Music and religion, a hot topic in many periods of conventional music history, is often ignored in nineteenth-century music studies. This fascinating book, written from an array of interdisciplinary perspectives, demonstrates what is lost, in particular how scripture and song resonated together in so many ways: within compositional and performative worlds, of course; but also – and more surprisingly – within the biographical, philosophical, architectural and anthropological contexts of nineteenth-century Britain. Informationen zum Autor James Grande is Senior Lecturer in eighteenth-century Literature at King’s College London, UK. He is the author of William Cobbett, the Press and Rural England (2014) and co-editor of William Hazlitt: The Spirit of Controversy and Other Essays (2021) and Sound and Sense in British Romanticism (2023). Brian H. Murray is Senior Lecturer in nineteenth-century literature at King’s College London, UK. He is co-editor of Travel Writing, Visual Culture and Form (2014), Commodities and Culture in the Colonial World (2017), and Chosen Peoples: The Bible, Race and Empire in the Long Nineteenth Century (2020). Klappentext This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture, controversies raged over the performance, publication and censorship of old and new musical forms. From oratorio to opera, from parlour song to pantomime, and from hymn to broadside, nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation, regulation and contestation of religious and cultural identity and were used to address questions of class, nation and race, leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists, historians, literary and art historians and theologians to reveal points of intersection between music, religion and cultural history. Vorwort The first collection to show the full range of ways in which the Bible was mediated through both popular and elite music in nineteenth-century Britain. Zusammenfassung This volume brings together new approaches to music history to reveal the interdependence of music and religion in nineteenth-century culture. As composers and performers drew inspiration from the Bible and new historical sciences called into question the historicity of Scripture! controversies raged over the performance! publication and censorship of old and new musical forms. From oratorio to opera! from parlour song to pantomime! and from hymn to broadside! nineteenth-century Britons continually encountered elements of the biblical past in song. Both elite and popular music came to play a significant role in the formation! regulation and contestation of religious and cultural identity and were used to address questions of class! nation and race! leading to the beginnings of ethnomusicology. This richly interdisciplinary volume brings together musicologists! historians! literary and art historians and theologians to reveal points of intersection between music! religion and cultural history. Inhaltsverzeichnis List of Illustrations Acknowledgments Contributors 1. Introduction James Grande, King's College London, UK, and Brian H. Murray, King's College London, UK 2. The Ballad and the Bible Oskar Cox Jensen, Newcastle University , UK 3. The Movements of the Old Hundredth Psalm Tune Jonathan Hicks, University of Aberdeen, UK 4. ‘The Son of God goes forth to war’: The Imperial Martyr’s Hymnbook Brian H. Murray, King’s College London, UK
