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Poetry --- liedteksten --- Music --- liederen --- Dutch literature --- Book history --- muziekgeschiedenis --- anno 1600-1699 --- Songbooks, Dutch --- Vocal music --- 839.3-14 "16" --- Dutch songbooks --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- 839.3-14 "16" Nederlandse literatuur: lyriek; minnezang; religieuze poëzie; lied--17e eeuw. Periode 1600-1699 --- Nederlandse literatuur: lyriek; minnezang; religieuze poëzie; lied--17e eeuw. Periode 1600-1699 --- Social aspects --- History --- History and criticism --- History and criticism.

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In the seventeenth century, almost every stage performance was accompanied by music. Music was not only played between the companies, but also in the play itself. Music served as a background and decoration and was functionally integrated in the act of drama. The accounts of the Amsterdamse Schouwburg show that they employed professional musicians; in addition, the actors sang and danced. Following on from foreign stage music studies, this book focuses extensively on seventeenth-century theater music in the Netherlands for the first time. The centerpiece is the stage poet Jan Harmensz Krul, who skillfully interweaved music into his plays and who founded the Amsterdam Musyck room in 1634 - a foundation devoted entirely to the combination of poetry and music on stage. On the basis of five characteristic musical scenes from his work (the watchman scene, prison scene, serenade, sacrificial scene and sleep scene), an image is sketched of the Amsterdam theater music practice at the time. Such musical scenes were also loved by other stage poets, at home and abroad. They had a signaling function for the audience: they were immediately recognizable situations, benchmarks in the drama, which were associated with music by default. Poets varied to their heart's content. For the playwright and spectator, those stereotypical musical scenes were what music was for the characters in the plays: an effective means of manipulation - a perfect seduction, of eye, ear and heart.

Dramatic music --- History and criticism. --- Music, Dramatic --- Music, Theatrical --- Music for the stage --- Stage music --- Theatrical music --- Music --- History and criticism --- Krul, Jan Harmensz --- Music in theaters --- Music / History & Criticism

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This book is about the presence of music in novels. More specifically, it is about music in the early modern novel, with an emphasis on seventeenth-century musical prose from The Netherlands. The essay provides a concise and an accessible introduction into the subject and presents an overview of this compelling and fascinating new research area. In recent years the interest in this subject has substantially increased both among literary critics-who coined a special term for the phenomenon and speak of 'music novels'-and academics, who started doing systematic and in-depth musico-literary research. Initially, the research was focused mainly on the influence of music in novels from the period around 1900, the works by modernist writers like Thomas Mann, James Joyce and Virginia Woolf. Later, also the novelistic oeuvre of twentieth- and twenty-first-century 'musical' authors like Milan Kundera, Simon Vestdijk and Toni Morrison became subject of study. It is remarkable that up until now the presence of musical elements in prose works from earlier centuries received almost no attention from academic researchers. This essay wants to contribute to filling this lacuna. The book offers the reader an impression and overview of this intriguing interdisciplinary field. First, it presents an exploration of the role and function of musical elements in seventeenth-century Dutch prose fiction. Many examples from primary literature are discussed and are consistently considered in the light of contemporary European developments. Secondly, the publication serves as an introduction to a fascinating new research area, that is at an international level, too, virtually unexplored. This makes it the first transnational study devoted to musical practices in the Golden Age novel. Accordingly, the text investigates several options for future research.

Dutch fiction --- Dutch literature --- Music in literature. --- History and criticism. --- Dutch literature. --- Flemish literature

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Book history --- Music --- Poetry --- Dutch literature --- liedteksten --- muziekgeschiedenis --- liederen --- anno 1600-1699

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An in-depth investigation of the influential role that music and sound played throughout Vincent van Gogh's (1853-1890) life. From psalms and hymns to the operas of Richard Wagner to simple birdsong, music represented to Van Gogh the ultimate form of artistic expression. And he believed that by emulating music painting could articulate deep truths and impart a lasting emotional impact on its viewers. In Van Gogh and Music Natascha Veldhorst provides close readings of the many allusions to music in the artist's prolific correspondence and examines the period's artistic theory to offer a rich picture of the status of music in late 19th-century culture. Veldhorst shows the extent to which Van Gogh not only admired the ability of music to inspire emotion, but how he incorporated musical subject matter and techniques into his work, with illustrations of celebrated paintings such as Sunflowers in a Vase, which he described as "a symphony in blue and yellow." An expansive inquiry into the significance of sound and music for the artist, including the formative influence of his song-filled upbringing, Van Gogh and Music is full of fascinating new insights into the work of one of history's most venerated artists

Art and music --- Gogh, Vincent van, --- Criticism and interpretation. --- Knowledge --- Music.