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The men and women that followed the sixth-century customs of Benedict of Nursia (c.480-c.547) formed the most enduring, influential, numerous and widespread religious order of the Latin middle ages. Their liturgical practice, and their acquired taste for learning, served as a model for the medieval church as a whole: while new orders arose, they took some of their customs, and their observant and spiritual outlook, from the Regula Benedicti. The Benedictines may also be counted among the founders of medieval Europe. In many regions of the continent they created, or consolidated, the first Christian communities; they also directed the development of their social organisation, economy, and environment, and exerted a powerful influence on their emerging cultural and intellectual trends.
This book, the first comparative study of its kind, follows the Benedictine Order over eleven centuries, from their early diaspora to the challenge of continental reformation.
James G. Clark is Professor of History, University of Exeter.
Christian religious orders --- Benedictines --- anno 500-1499 --- Monasticism and religious orders --- History --- History. --- Church history --- Bencések --- Benedettini --- Bénédictins --- Beneditinos --- Benedyktyni --- O.S.B. --- Ordem de São Bento --- Order of Saint Benedict --- Ordine di San Benedetto --- Ordo Sancti Benedicti --- OSB --- Saint Benedict, Order of --- Monasticism and religious orders - History - Middle Ages, 600-1500 --- Benedictines. --- Christian Communities. --- Christianity. --- Church. --- Cultural Influence. --- Cultural influence. --- Latin. --- Medieval Europe. --- Middle Ages. --- Monastic Orders. --- Monastic order. --- Religious order. --- Social Organization. --- Social organization.
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This is the first book to survey contemporary Western art music within the transformed political, cultural, and technological environment of the post-Cold War era. In this book, Tim Rutherford-Johnson considers musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing connections with the other arts, in particular visual art and architecture, he expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter is a critical consideration of a wide range of composers, performers, works, and institutions, and develops a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from electroacoustic music studios in South America to ruined pianos in the Australian outback. Rutherford-Johnson puts forth a new approach to the study of contemporary music that relies less on taxonomies of style and technique than on the comparison of different responses to common themes of permission, fluidity, excess, and loss.
Music --- Music. --- Neue Musik. --- Politischer Wandel. --- History and criticism. --- Social aspects --- History --- Social aspects. --- 1900-2099. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- compositie --- muziek --- anno 2000-2009 --- anno 2010-2019 --- anno 1990-1999 --- History and criticism --- arts and entertainment. --- cold war era music. --- concert hall. --- crossover work. --- evolution of music. --- excess. --- experimental music. --- fluidity. --- music composition. --- music criticism. --- music theory. --- musical anthropology. --- musical theorists. --- musician. --- musicians. --- permission. --- political and cultural influence. --- remix culture. --- sampling music. --- sound art. --- string quartets. --- western art.
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