Unique yet diverse in its approach, The Crucifixion in Music examines how text is set in music through the specific musicological period from 1680 to 1800. The treatise focuses specifically on the literary text of the Crucifixus from the Credo of the Ordinary of the Roman Catholic Mass. Combining analytical theory and method to address musical rhetoric, semiotics, and theory, author Jasmin Cameron follows the Crucifixion through many settings in Baroque and Classical music. In this first title in Scarecrow Press's new series, Contextual Bach Studies, Cameron studies musical representations of the text, first through a discussion that establishes a theoretical framework, then by applying the framework to individual case studies, such as Johann Sebastian Bach's B Minor Mass. By studying the musical representation of the text, and the concepts and contexts to which the words refer, Cameron examines the way the treatment of a literary text fuses into a recognizable musical tradition that composers can follow, develop, modify, or ignore. With equal time given to the settings of the Crucifixus by composers before and after Bach's time, the reader is provided with a fuller historical context for Bach's genius. Cameron also combines the beliefs of past theorists with those of today, reaching a common ground among them, and providing a basis and analytical framework for further study.
Jasmin Melissa Cameron is lecturer in Music at the University of Aberdeen in Scotland. She has published articles on texted music in the late Baroque and Classical periods, and produced the recent edition of Vivaldi's Gloria RV 589 for the New Novello Choral Series.
Part 1 List of Figures and Tables Part 2 Reader's Note Part 3 Editor's Foreword Part 4 Preface Part 5 Acknowledgments Part 6 Part I: The Liturgy and Its Musical Implications Chapter 7 1. The Crucifixus: An Overview Part 8 Part II: Investigative Approaches Chapter 9 2. Music and Rhetoric: Representation of the Text as Conceived by Theorists of the Eighteenth Century Chapter 10 3. Modern Analytical Views Relevant to the Subject and Their Relationship to Rhetoric Part 11 Part III: Analysis Chapter 12 4. A Musical Overview Chapter 13 5. Analytical Results Part 14 Part IV: Case Studies Chapter 15 6. Adaptation of Preexisting Music for a Setting of the Crucifixus: J.S. Bach: Crucifixus from Mass in B Minor BWV 232 Chapter 16 7. Organization of Texture and Text: Caldara: Crucifixus a 16 Voci Chapter 17 8. A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 Voci Chapter 18 9. A Rhetorical Analysis: Zelenka: Crucifixus from Missa Paschalis ZWV 7 Chapter 19 10. Textual Influence: Vivaldi: Crucifixus from Credo RV 591 Chapter 20 11. Constraints of Style: Lotti: Crucifixus Settings for Six and Ten Voices Chapter 21 12. Orchestral Practice and Crucifixus Conventions: Mozart, Haydn, and Beyond Part 22 Part V: Summary Chapter 23 13. The Crucifixus Tradition: Patterns of Influence and Modes of Transmission Chapter 24 14. General Overview Part 25 Appendixes Chapter 26 A. Crucifixus Settings Chapter 27 B. Rhythmic Variants for Setting the Word "Crucifixus" Chapter 28 C. A Comparison of Bach's Setting of the Crucifixus from the Mass in B Minor BWV 232 and the First Part of the Opening Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12 Chapter 29 D. A. Caldara (8): Crucifixus a 16 Voci Chapter 30 E. F.G. Bertoni (5): Crucifixus con Organo a 4 Voci Chapter 31 F. A. Vivaldi (95): Crucifixus from Credo RV 591 Chapter 32 G. A. Lotti (59): Crucifixus a 6 Chapter 33 H. A Lotti (60): Crucifixus a 10 Chapter 34 I. W.A. Mozart (84): Crucifixus from Kroenungs-Messe KV 317 Chapter 35 J. F.J. Haydn (39): Crucifixus from Missa in Tempore Belli Chapter 36 K. D. Cimarosa (16): Messa a 4 con Stromenti Part 37 Bibliography Part 38 General Index Part 39 Musical Index Part 40 About the Author