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Introduction
Simon Jackson, University of Cambridge
Book:

George Herbert and Early Modern Musical Culture

Published online:

11 November 2022

Print publication:

01 December 2022, pp 1-23
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Summary

The Introduction establishes Herbert’s reputation as a musical poet. It lays out contemporary evidence for Herbert’s practical interest in music-making, and draws attention to a wider engagement with music among members of the extended Herbert and Sidney families. Remembered by early biographers for his musical skill, George Herbert is celebrated for his musical verse, much of which is still regularly performed today in musical settings as hymns, songs, and anthems. This chapter argues for the importance of attending to the aural and oral characteristics of Herbert’s verse, and – drawing on critical discussions about the nature of early modern lyric verse and the lyric mode – it establishes the need to develop a cultural poetics of listening.

Simon Jackson
Published online:

11 November 2022

Print publication:

01 December 2022
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Described by one contemporary as the 'sweet singer of The Temple', George Herbert has long been recognised as a lover of music. Nevertheless, Herbert's own participation in seventeenth-century musical culture has yet to be examined in detail. This is the first extended critical study to situate Herbert's roles as priest, poet and musician in the context of the musico-poetic activities of members of his extended family, from the song culture surrounding William Herbert and Mary Sidney to the philosophy of his eldest brother Edward Herbert of Cherbury. It examines the secular visual music of the Stuart court masque as well as the sacred songs of the church. Arguing that Herbert's reading of Augustine helped to shape his musical thought, it explores the tension between the abstract ideal of music and its practical performance to articulate the distinctive theological insights Herbert derived from the musical culture of his time.

7 - Encounter music in Oceania: cross-cultural musical exchange in eighteenth- and early nineteenth-century voyage accounts
from Part III - Music histories of global encounter and exchange
- By Vanessa Agnew
Edited by Philip V. Bohlman, University of Chicago
Book:

The Cambridge History of World Music

Published online:

05 December 2013

Print publication:

12 December 2013, pp 183-201
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Summary

There are traditions of scholarship and thought that take the concept of a world-music history as a point of departure. This chapter examines early scholarly literature, central issues such as processes in which twentieth-century works that set out to narrate and comments on the history of world music. It explores the role that the world-music concept, viewed historically, has played in the recent history of music scholarship. For the people whose culture turned into Western civilization, music was developed inexorably to greater complexity until it reached various kinds of climax in the nineteenth and twentieth centuries. The chapter summarizes some of the landmarks among the early works that may claim in some way to be histories of world music. A few scholars, however, devoted themselves substantially to the notion that there is a world history of music in which Western music plays an important role.