“Passion, Lament, Glory”: Baroque Music and Modern Social Justice Resonances
Baroque religious music was composed and performed to stimulate devotion as well as the inspire passion through the theatricality of the religious ritual including the processional arrangements which worked in tandem with the performance practices based on strong emotional delivery. The current project aimed to re-imagine historical emotional affect through a pasticcio performance of Baroque works focused on the Easter Passion and Resurrection delivering the narrative with enactment. The project was also conceived to deliver broader social justice messages allied to displaced and misunderstood peoples of different religious and cultural backgrounds. In this paper, the audience is invited to spectate a performance of Passion, Lament, Glory, staged at St Paul’s Cathedral, Melbourne just before Easter 2017. They are invited to share in the background to the work and read about audience responses to the live performance. These responses are reflected upon in terms of the empathic, cathartic and applied outcomes of the performance on the audience.
Arnold, J. (2016). Sacred music in secular society. London, England: Routledge.
Bohlman, P. V. (2013). Revival and reconciliation: Sacred music in the making of European modernity. London, England: Scarecrow Press.
Davidson, J. W., & Garrido, S. (2014). My life as a playlist. Perth, Australia: UWA Publishing.
Davies, B., Hamblin, A., & Dowling, J. (2016, December 13). Police raids in Melbourne’s northern suburbs. Herald Sun. Retrieved from http://www.heraldsun.com.au/news/police-raids-in-melbournes-northern-suburbs/news-story/42a0b1a83582da5bf422fdcd176ac06c.
Davies, S. (1994). Musical meaning and expression. Ithaca, NY: Cornell University Press.
Doherty, R. W. (1997). The emotional contagion scale: A measure of individual differences. Journal of Nonverbal Behavior, 21(2), 131-154, http://dx.doi.org/10.1023/A:1024956003661.
Hail, Holy Queen, Mother of Mercy. (2017). World prayers, Retrieved from, www.worldprayers.org.
Harper, J. (1991). The Forms and orders of western liturgy from the tenth to the eighteenth century: A historical introduction and guide for students and musicians. New York, NY: Clarendon Press.
Kevorkian, T. (2007). Baroque piety: Religion, society, and music in Leipzig, 1650–1750. Aldershot, England: Routledge Chapman Hall.
Luckhurst, M., & Tait, P. (In press). Emotions in twentieth and twenty first century drama and theatre. In J. W. Davidson & J. Damousi (Eds.), A cultural history of emotions, 6. London, England: Bloomsbury.
Lyra Catholica (Casswall, E., Trans.). (1849). London, England: James Burns.
Pergolesi, G. B. (2012). Stabat Mater for soprano, alto, strings and basso continuo. Kassel, Germany: Bärenreiter.
Scribner, R. W. (1988). The German people and the reformation. Ithaca, NY: Cornell University Press. pp. 122-144.
Spooner, R. (2016, December 23). Celebrate Christmas wholeheartedly”: Cathedral unshaken by Melbourne terror plot. The Age. Retrieved from http://www.theage.com.au/victoria/celebrate-christmas-wholeheartedly-cathedral-unshaken-by-terror-plot-20161222-gth0zp.html.
Tröndle, M., Kirchberg, V., & Tschacher, W. (2014). Is this art? An experimental study on visitors’ judgement of contemporary art. Cultural Sociology, 8(3), 310-332, http://dx.doi.org/10.1177/1749975513507243.
Viladesau, R. (2014). The pathos of the cross: The Passion of Christ in theology and the arts—The Baroque era. Oxford, England: Oxford University Press.
Volf, M. (2015). Flourishing: Why we need religion in a globalized world. New Haven, CT: Yale University Press.
Waleson, H. (2012). Baroque opera: Captivating the critics. Early Music America, 18(2), 28-33.
Will, R. (2004). Pergolesi’s “Stabat Mater” and the politics of feminine virtue. The Musical Quarterly, 87(3), 570-614.
- There are currently no refbacks.