Musical medievalism and the harmony of the spheres

Dell, Helen

doi:10.1017/cco9781316091708.005

Cited by 3 publications

(3 citation statements)

References 78 publications

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“…In seeking to present a fantasy drama such as Game of Thrones as historically grounded, we may find insight within the broader debate about medieval music and authenticity, one that has animated musicologists for decades (Dell 2016, p. 65). Quite literally, no one knows what music sounded like during the Middle Ages.…”

Section: The Traditions Of Music Medievalism In Game Of Thronesmentioning

confidence: 99%

‘The Rains of Castamere’: medievalism, popular culture, and the music ofGame of Thrones

Cuenca

2020

Pop. Mus.

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This article closely examines the song ‘The Rains of Castamere’, from the television series Game of Thrones (2011–19), to draw broader conclusions about how ‘medieval’ music manifests in contemporary popular culture and how music for television has become increasingly important in the last few decades. This article argues for the relevance of ‘The Rains of Castamere’ in popular music from three perspectives: first, as a musical adaptation of the ‘medieval’ world of 'folk’ music popularised in George R.R. Martin's A Song of Ice and Fire novels (1996–); second, as a song embedded in the rich tradition of modern ‘medieval’ music, which itself is a modern reconstruction influenced by cinematic and literary tropes; and lastly, as a track that exemplifies the influence of fan culture in both shaping and responding to popular medievalist music.

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Section: The Traditions Of Music Medievalism In Game Of Thronesmentioning

confidence: 99%

‘The Rains of Castamere’: medievalism, popular culture, and the music ofGame of Thrones

Cuenca

2020

Pop. Mus.

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“…2–3). Helen Dell argues that these ratios had ‘ramifications for every aspect of human life: bodily, emotional, moral and spiritual’ (, p. 62).…”

Section: Basic Structure Of a Cantiga De Miragrementioning

confidence: 99%

Linear Narratives in Cyclical Form: the Hunt for Reason in the Cantigas de Santa Maria

Drummond¹

2019

Music Analysis

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Central to the world of thirteenth‐century Galician‐Portuguese song are the Cantigas de Santa Maria (CSM), on whose narrative cantigas de miragre this article focuses. These songs comprise alternations between a refrain and strophes that finish by reiterating the refrain's metre, rhymes and melody. Combining the strictly linear narrative of the miracle cantiga with this cyclical framework poses manifold complications. Self‐contained narrative logic is divided by interstrophic refrains, and chains of thought are divided by destabilising chains of interstrophic enjambment. This setup in the cantigas de miragre is rendered all the more curious given that few comparable instances of cyclical structure and linear narrative occur elsewhere in late‐medieval vernacular repertoire. In essence, concatenating the linear with the circular does not – and perhaps should not – work in narrative song. In this article, I examine how the cantigas de miragre navigate this dichotomy. Parsing the musical, poetic and narrative structures of CSM 232, I demonstrate how the sonically tenacious refrain, recapped within the latter part of each strophe as the strophe‐b, works to highlight the narrative thrust of a miracle story. The memorially marked recurrence of refrain metre, rhymes and melody in the strophe‐b functions as a device to separate the narratively central from the extraneous. It thereby exposes a miracle song's essential message to its audience. Through the analysis of CSM 232, this article highlights the fundamental role of sonic memory in late‐medieval vernacular song.

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“…Då ter det sig otillräckligt att, som exempelvis medeltidsmusikforskaren Helen Dell, beskriva Burzums musik som rakt igenom disharmonisk och Vikernes som "vrålande mot en kladdig, ofrånkomlig och allt uppslukande harmoni". 36 Istället framhäver Vikernes själv, med hänvis ning till rituell dans, hur "[ r ] ytmiska rörelser bidrar till att skapa harmoni i sinnet". 37 Snarare än att föra in det disharmoniska i en alltför sam stämd värld skänker musiken en möjlighet för människan att höja sig ur den moderna världens "disharmoniska, höga, extrema och obehagliga ljud" och istället närma sig det gudomliga.…”

Section: Mörkret Och Den Solära Estetikenunclassified

Den svarta solens modaliteter

Ooijen¹

2019

TfL

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Modalities of the Black Sun: Burzum, Bataille and JVVF Studies Literary studies often encounter writers whose output includes both literature and propaganda. The response may be to avoid ideologically tainted writers, or to separate the work from its creator. I rather seek to explore how various forms of expression relate to each other in the work of an artist who is active both as a fascist propagandist, ideologue and musician: Varg Vikernes, the individual behind Burzum. I take Bataille’s solar economy as my theoretical framework and situate myself within a field of studies that is attracted to fascist culture without adhering to a fascist ideology. First, I sketch out the relationship between fascism, literature and the marketplace of ideas. Then, I explore the relationship between the politics of Vikernes and the music of Burzum with a particular focus on Reflections on European Mythology and Polytheism (2015) and Belus (2010). I conclude that while both express the creator’s worldview, they also demonstrate how this worldview may be channelled into very different outputs.

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Musical medievalism and the harmony of the spheres

Cited by 3 publications

References 78 publications

‘The Rains of Castamere’: medievalism, popular culture, and the music ofGame of Thrones

‘The Rains of Castamere’: medievalism, popular culture, and the music ofGame of Thrones

Linear Narratives in Cyclical Form: the Hunt for Reason in the Cantigas de Santa Maria

Den svarta solens modaliteter

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