The Lily and the Rose : Adoration of the Virgin in sound and stone
- Submitting institution
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The University of Birmingham
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 55051512
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Hyperion Records
- Open access status
- -
- Month
- July
- Year
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Music in late medieval England enjoyed a degree of international influence unknown in subsequent English music until the Beatles. But much of this music, transmitted across Europe during the period of its currency, is at best more known about than known, and many of the most significant pieces of the time were almost entirely unfamiliar even to most scholars of this repertoire before I began to perform and record them with the Binchois Consort. In resurrecting this music in sound, the concern, moreover, has been to place it as closely as possible in its local context by relating the music to contemporary ritual and social contexts and to the traditions of other contemporary artefacts. Hence even with relatively familiar pieces, the aim has been to set them in contemporary contexts unfamiliar to modern listeners and historians. This recording hence incorporates original research on the performance and social performance context of music from late medieval England. More particularly, it involves a close comparative study of the common devotional currency and performance contexts of English polyphony and alabaster carvings, both of which circulated throughout Western Europe, in the context of Marian worship, the primary concern of much music and imagery of the time. Original editions were produced incorporating English Latin pronunciation of the period. This has then fed into experimentation with pronunciation in concerts and recordings, aiming to maximise connections to what we can unearth of contemporary vocal timbres. The liner essays support this research, combining commentary on music, on the related visual imagery (examples of which are included in the materials) and the nature of their interaction in their original settings. It thus combines cutting-edge historical and cultural research not simply in words but also—in what I believe to be a compelling scholarly synergy—also in sound and image.
- Author contribution statement
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- Non-English
- No
- English abstract
- -
