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Singing --- Vaccai, Nicola, --- Singing and voice culture --- Vocal culture --- Music --- Beatboxing --- Throat singing --- Performance --- Vaccai, Nicola --- Vocal methods --- Voice methods --- Singing - Methods --- Vaccai, Nicola, - 1790-1848 - Metodo pratico di canto italiano per camera

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French literature --- Marais, Marin, --- Human sounds --- Throat --- Diaphragm --- Larynx --- Singing and voice culture --- Vocal culture --- Beatboxing --- Throat singing --- Marais, Marin --- -Speaking --- Composers --- Music --- Compositeurs --- Musique --- Biography --- Miscellanea --- Biographies --- Miscellanées --- Singing --- Voice --- Speaking --- Language and languages --- Elocution --- Phonetics --- Speech --- Physiological aspects --- Performance --- Marin-Marais, --- Marais, M. --- Marais, Marin, - 1656-1728 --- Esthétique --- Philosophie

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In Singing the New Song, Katherine Zieman examines the institutions and practices of the liturgy as central to changes in late medieval English understandings of the written word. Where previous studies have described how writing comes to supplant oral forms of communication or how it objectifies relations of power formerly transacted through ritual and ceremony, Zieman shifts the critical gaze to the ritual performance of written texts in the liturgy-effectively changing the focus from writing to reading. Beginning with a history of the elementary educational institution known to modern scholars as the "song school," Zieman shows the continued centrality of liturgical and devotional texts to the earliest stages of literacy training and spiritual formation. Originally, these schools were created to provide liturgical training for literate adult performers who had already mastered the grammatical arts. From the late thirteenth century on, however, the attention and resources of both lay and clerical patrons came to be devoted specifically to young boys, centering on their function as choristers. Because choristers needed to be trained before they received instruction in grammar, the liturgical skills of reading and singing took on a different meaning. This shift in priorities, Zieman argues, is paradigmatic of broader cultural changes, in which increased interest in liturgical performance and varying definitions attached to "reading and singing" caused these practices to take on a life of their own, unyoked from their original institutional settings of monastery and cathedral. Unmoored from the context of the choral community, reading and singing developed into discrete, portable skills that could be put to use in a number of contexts, sacred and secular, Latin and vernacular. Ultimately, they would be carried into a wider public sphere, where they would be transformed into public modes of discourse appropriated by vernacular writers such as Geoffrey Chaucer and William Langland.

Liturgy --- anno 1200-1499 --- Great Britain --- Literacy --- Books and reading --- Singing --- History --- Religious aspects --- Christianity. --- Catholic Church --- Texts --- History and criticism. --- Illiteracy --- Education --- General education --- Singing and voice culture --- Vocal culture --- Music --- Beatboxing --- Throat singing --- Performance --- Church of Rome --- Roman Catholic Church --- Katholische Kirche --- Katolyt︠s︡ʹka t︠s︡erkva --- Römisch-Katholische Kirche --- Römische Kirche --- Ecclesia Catholica --- Eglise catholique --- Eglise catholique-romaine --- Katolicheskai︠a︡ t︠s︡erkovʹ --- Chiesa cattolica --- Iglesia Católica --- Kościół Katolicki --- Katolicki Kościół --- Kościół Rzymskokatolicki --- Nihon Katorikku Kyōkai --- Katholikē Ekklēsia --- Gereja Katolik --- Kenesiyah ha-Ḳatolit --- Kanisa Katoliki --- כנסיה הקתולית --- כנסייה הקתולית --- 가톨릭교 --- 천주교 --- Literacy - England - History - To 1500. --- Books and reading - England - History - To 1500. --- Singing - Religious aspects - Christianity. --- Singing - England - History - To 1500. --- History. --- Literature. --- Medieval and Renaissance Studies. --- Religion.