The quodlibet genre was significant in Viennese theater during the first quarter of the nineteenth century. Quodlibets are important for two reasons: they reflect the ironic intertextuality of Viennese life, and they present a cross-section of music of many genres and styles that was most familiar to the theatergoing audience. This edition includes three works: Die travestierte Ariadne auf Naxos (ca. 1799), a one-act melodrama with spoken and sung sections; Rochus Pumpernickel (1809), a three-act play with musical numbers; and "Das beliebte Quodlibet" from Der Eheteufel auf Reisen (1821), a medley that represent different times and styles, tracing the history of the genre. Ariadne auf Naxos, a parody of the 1775 Brandes/Benda melodrama, borrows the original text almost completely, but replaces Benda¿s music with comical melodies drawn from the Vienna Volkstheater and adds a happy ending. Rochus Pumpernickel, with a story based on Molière and twenty-seven musical numbers, was the most successful of all the full-length quodlibet plays; the high-brow periodical Der Sammler paid it the back-handed compliment of saying that its author "writes for the box office, not for immortality." With music ranging from Mozart and Haydn to Méhul, Salieri, Weigl, Wenzel Müller, and anonymous folksong, it offers a rich assortment of material familiar and unfamiliar to modern scholars. Dance music plays a significant role, so this play also opens a window on the Viennese dance world. The medley "Das beliebte Quodlibet" combines opera, folksong, and Tyrolerlied into a quasi-political jab at the police state. The edition provides literal English translations of all the texts, and the two full-length works also include performable translations underlaid in the music. An extensive commentary section identifies musical sources and discusses how pieces are reinterpreted in their new contexts.

This is the first of two volumes on theological quodlibeta, records of special disputations held before Christmas and Easter ca. 1230-1330, mostly at the University of Paris, in which audience members asked the great masters of theology the questions for debate, questions de quolibet, "about anything." The variety of the material and the authors’ stature make the genre uniquely fascinating. In Volume I, chapters by acknowledged experts introduce the genre, cover the quodlibeta of Thomas Aquinas, Henry of Ghent, Giles of Rome, Godfrey of Fontaines, and 13th-century Franciscans, and demonstrate how the masters used quodlibeta to construct and express their authority on issues from politics and economics to two-headed monsters. For all those interested in medieval studies, especially intellectual history.

The second of two volumes on special theological disputations from ca. 1230-1330 in which audience members asked the era's greatest intellectuals questions de quolibet, "about anything." The variety of the material and the authors' stature make the genre uniquely fascinating.

"Students of the final troubled decades of the thirteenth-century (following the censures of the 1270s) will be delighted to have this richly researched presentation of the metaphysics of Godfrey of Fontaines."--Modern Schoolman "Plainly the indispensable key to understanding and evaluating Godfrey's thought."--International Studies in Philosophy "A clearly written and substantial contribution to our understanding of this important period in medieval thought. . . ."--Choice "This excellent study makes accessible the central philosophical ideas of one of the three or four most important Parisian masters of theology between Thomas Aquinas and Duns Scotus. Already the leading authority on his subject, Professor Wippel here draws together and greatly extends his previous work, providing a superbly documented view of the highest of high scholastic discussion as seen in the contributions of a subtle and spirited participant."--Speculum

This is the second of two volumes on theological quodlibeta, records of special disputations held before Christmas and Easter ca. 1230-1330, mostly at the University of Paris, in which audience members asked the great masters of theology the questions for debate, questions de quolibet, “about anything.” The variety of the material and the authors’ stature make the genre uniquely fascinating. In Volume II, chapters by acknowledged experts cover the quodlibeta of John Duns Scotus, Peter Auriol, John of Pouilly, Peter of Auvergne, and Thomas Wylton; examine the pertinent writings of the religious orders, including the monks, canons regular, and mendicants; revise our understanding of important manuscripts containing quodlibeta; offer critical editions of significant texts; and demonstrate how these writings are crucial for our knowledge of the history of topics in metaphysics and natural philosophy. For all those interested in medieval studies, especially intellectual history.

This book offers the reader an introduction to the writings of Hildegard of Bingen, Meister Eckhart, Tauler, Nicholas of Cusa, Paracelsus, Jacob Boehme, Angelus Silesius, Novalis and includes the more recent thinkers, such as Schopenhauer and Wittgenstein, who were influenced by the tradition. It is the first study of its scope to take into account the much ignored historical preconditions of German mysticism and the first to trace the thematic evolution of mystical literature from a core of biblical and Augustinian materials. It also follows in the footsteps of recent scholarship in showing how German mysticism interacts with other currents in intellectual history such as the Reformation, Romanticism, or Modernism. Instead of murky generalizations, the reader will find clear discussions of representative literary documents, analyzed with an eye to theme, source, style, function, and influence.

Charles Ives is famous for using borrowed material in his music. Almost two hundred individual works or movements, spanning his entire career and representing more than a third of his output, incorporate music by other composers or from his own previous work. In this book, the eminent Ives scholar J. Peter Burkholder identifies the different kinds of "quotations" in Ives's music, explores the complex musical, aesthetic, and psychological motivations behind the borrowings, and shows the purpose, techniques, and effects that characterize each one. Burkholder catalogues fourteen distinct ways that Ives borrowed, ranging from direct quotation to paraphrase, variation, collage, modeling, and stylistic allusion. Arguing that these borrowing procedures were compositional strategies, he provides a new perspective on Ives's process of composition. In addition, by tracing the development of Ives's borrowing practices through his career, he contributes to an understanding of the composer's stylistic evolution. And by showing how much of Ives's music uses borrowing procedures that are common to many composers, he reveals that Ives is not as far removed from the classic-romantic tradition as has been thought. Finally, Burkholder's comprehensive treatment of Ives's borrowing techniques offers a new perspective on the entire field of musical borrowing.