This book takes a unique approach to the study of folk music in Central Europe. Through an analysis of this cultural tradition, and of how words and ideas that were first introduced in Latin Antiquity became increasingly cultivated, refined, and established in the centuries that followed, the volume also questions present-day studies of sound and its organization into the field of so-called 'folk music'. In so doing, it breaks down boundaries that separate historical studies from ethnomusicology, and sheds light on what music continues to mean in daily life. While the focus is primarily on Central European folk music, and in particular on material found in the Hungarian archives, the approach taken here also points to a fruitful comparative methodology that could be employed on a larger scale, enabling scholars to consider broader chronological and geographical contexts.

The essays in this book use the nine-line poem known as Cædmon's Hymn as a lens on the world of Bede's Ecclesiastical History.

This volume studies high and late medieval material culture in a Pan-European context. The idea of ‘unity of culture’ in Medieval Latin Europe is well known in historical texts, especially when it concerns the so-called ‘Europe North of the Alps’. This book investigates the similarities and differences in material culture between areas, regions and political entities and opens the dialogue for a more interregional discussion. The editors acknowledge that there are numerous challenges in understanding the phenomenon the volume addresses, the fundamental one being defining (or even redefining) a common material culture of Europe. Important in determining this is greater appreciation of how objects reflect interactions between peoples, both local and foreign, which can be driven by a variety of factors, including trade, conflict and diplomacy etc. But just as important is observing the differences between ‘things’ across Europe, reflecting developments and transformations its cultural, social and economic history. These works are traditionally presented in isolation or at the local level, maybe even in very specialized tomes, as often it is thought their observation are not relevant to wider discourses. Conversely, what is clear, however, is that by interconnecting these seemingly introvert studies of specific artefact types or sites etc., readers can better appreciate the similarities and differences in material culture across Europe. This book is of interest to researchers in archaeology and material culture.

In American music, the notion of "roots" has been a powerful refrain, but just what constitutes our true musical traditions has often been a matter of debate. As Benjamin Filene reveals, a number of competing visions of America's musical past have vied fo

This multicultural reference work on Jewish folklore, legends, customs, and other elements of folklife is the first of its kind.

Material Cultures of Music Notation brings together a collection of essays that explore a fundamental question in the current landscape of musicology: how can writing and reading music be understood as concrete, material practices in a wider cultural context? Drawing on interdisciplinary approaches from musicology, media studies, performance studies, and more, the chapters in this volume offer a wide array of new perspectives that foreground the materiality of music notation. From digital scores to the transmission of manuscripts in the Middle Ages, the volume deliberately disrupts boundaries of discipline, historical period, genre, and tradition, by approaching notation's materiality through four key interrelated themes: knowledge, the body, social relations, and technology. Together, the chapters capture vital new work in an essential emerging area of scholarship.