Since her death in 1179, Hildegard of Bingen has commanded attention in every century. In this book Jennifer Bain traces the historical reception of Hildegard, focusing particularly on the moment in the modern era when she began to be considered as a composer. Bain examines how the activities of clergy in nineteenth-century Eibingen resulted in increased veneration of Hildegard, an authentication of her relics, and a rediscovery of her music. The book goes on to situate the emergence of Hildegard's music both within the French chant restoration movement driven by Solesmes and the German chant revival supported by Cecilianism, the German movement to reform Church music more generally. Engaging with the complex political and religious environment in German speaking areas, Bain places the more recent Anglophone revival of Hildegard's music in a broader historical perspective and reveals the important intersections amongst local devotion, popular culture, and intellectual activities.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

Open your mind and heart, lift your voice, and discover how the sacred art of chant can enrich your spiritual life. "Chanting with an intention to open our hearts and minds to the presence of God in us helps us to be quiet in the face of mystery and learn how to hear what it has to say to us.... Chanting is holistic. It will transform you, you will embody the change, and people will notice the new, more grounded you. More important, though, you will notice the new, more grounded you." --from the Introduction The Sacred Art of Chant invites you to use your own voice to create sacred sounds--no matter your religious background or vocal ability. Drawing on chants from several different faith traditions, this invigorating guidebook is ideal for anyone who wants to enliven their prayer experience in a unique way and navigate a path to a conscious relationship with God. Chant isn't just about monks or ancient Hindu gurus--this dynamic spiritual art continues to be developed and practiced today. Like other spiritual disciplines, chant can lead to limitless and unexpected benefits. With a steady practice and an open mind, you may find that chant helps you to: Cultivate clarity, focus, and compassion in your daily life Improve your listening skills Raise your energy level Improve your receptivity to other people Transcend the limits you impose on yourself Feel more comfortable in your own skin Ultimately, lead a more complete spiritual life