. . intellectual and religious history of late medieval and Reformation Europe.”—Christianity Today"A learned, humane, and expressive book."—Gerald Strauss, Renaissance Quarterly The seeds of the swift and sweeping religious movement that reshaped European thought in the 1500s were sown in the late Middle Ages. In this book, Steven Ozment traces the growth and dissemination of dissenting intellectual trends through three centuries to their explosive burgeoning in the Reformations—both Protestant and Catholic—of the sixteenth century. He elucidates with great clarity the complex philosophical and theological issues that inspired antagonistic schools, traditions, and movements from Aquinas to Calvin. This masterly synthesis of the intellectual and religious history of the period illuminates the impact of late medieval ideas on early modern society.

    You might say this was the last day of the pop era.The following day, which was a Friday, was 1971. You might say this was the first day of the rock era. And within the remaining 364 days of this monumental year, the world would hear Don McLean's "American Pie," The Rolling Stones' "Brown Sugar," The Who's "Baba O'Riley," Zeppelin's "Stairway to Heaven," Rod Stewart's "Maggie May," Marvin Gaye's "What's Going On," and more.David Hepworth, an ardent music fan and well regarded critic, was twenty-one in '71, the same age as many of the legendary artists who arrived on the scene. Taking us on a tour of the major moments, the events and songs of this remarkable year, he shows how musicians came together to form the perfect storm of rock and roll greatness, starting a musical era that would last longer than anyone predicted. Those who joined bands to escape things that lasted found themselves in a new age, its colossal start being part of the genre's staying power.Never a Dull Moment is more than a love song to the music of 1971. It's also an homage to the things that inspired art and artists alike. From Soul Train to The Godfather, hot pants to table tennis, Hepworth explores both the music and its landscapes, culminating in an epic story of rock and roll's best year.

    The occurrence of such phenomena sheds much light on the nature of medieval society and medieval religion. It also forms a chapter in the history of women. Previous scholars have occasionally noted the various phenomena in isolation from each other and have sometimes applied modern medical or psychological theories to them. Using materials based on saints' lives and the religious and mystical writings of medieval women and men, Caroline Walker Bynum uncovers the pattern lying behind these aspects of women's religiosity and behind the fascination men and women felt for such miracles and devotional practices. She argues that food lies at the heart of much of women's piety. Women renounced ordinary food through fasting in order to prepare for receiving extraordinary food in the eucharist. They also offered themselves as food in miracles of feeding and bodily manipulation. Providing both functionalist and phenomenological explanations, Bynum explores the ways in which food practices enabled women to exert control within the family and to define their religious vocations. She also describes what women meant by seeing their own bodies and God's body as food and what men meant when they too associated women with food and flesh. The author's interpretation of women's piety offers a new view of the nature of medieval asceticism and, drawing upon both anthropology and feminist theory, she illuminates the distinctive features of women's use of symbols. Rejecting presentist interpretations of women as exploited or masochistic, she shows the power and creativity of women's writing and women's lives.

    The most exciting book on music in years. A book of treasure, a book of discovery, a book to open your ears to new worlds of pleasure. Doing for music what Patricia Schultz—author of the phenomenal 1,000 Places to See Before You Die—does for travel, Tom Moon recommends 1,000 recordings guaranteed to give listeners the joy, the mystery, the revelation, the sheer fun of great music. This is a book both broad and deep, drawing from the diverse worlds of classical, jazz, rock, pop, blues, country, folk, musicals, hip-hop, world, opera, soundtracks, and more. It's arranged alphabetically by artist to create the kind of unexpected juxtapositions that break down genre bias and broaden listeners’ horizons— it makes every listener a seeker, actively pursuing new artists and new sounds, and reconfirming the greatness of the classics. Flanking J. S. Bach and his six entries, for example, are the little-known R&B singer Baby Huey and the '80s Rastafarian hard-core punk band Bad Brains. Farther down the list: The Band, Samuel Barber, Cecelia Bartoli, Count Basie, and Afropop star Waldemer Bastos. Each entry is passionately written, with expert listening notes, fascinating anecdotes, and the occasional perfect quote—"Your collection could be filled with nothing but music from Ray Charles," said Tom Waits, "and you'd have a completely balanced diet." Every entry identifies key tracks, additional works by the artist, and where to go next. And in the back, indexes and playlists for different moods and occasions.

    Saintly morsels such as bones, hair, teeth, blood, milk, and clothes, and items like the Crown of Thorns, coveted by Louis IX of France, were thought to bring the believer closer to the saint, who might intercede with God on his or her behalf. In the first comprehensive history in English of the rise of relic cults, Charles Freeman takes readers on a vivid, fast-paced journey from Constantinople to the northern Isles of Scotland over the course of a millennium.In Holy Bones, Holy Dust, Freeman illustrates that the pervasiveness and variety of relics answered very specific needs of ordinary people across a darkened Europe under threat of political upheavals, disease, and hellfire. But relics were not only venerated—they were traded, collected, lost, stolen, duplicated, and destroyed. They were bargaining chips, good business and good propaganda, politically appropriated across Europe, and even used to wield military power. Freeman examines an expansive array of relics, showing how the mania for these objects deepens our understanding of the medieval world and why these relics continue to capture our imagination.

    Elizabeth Wilson covers the composer's life from his early successes to his struggles under the Stalinist regime, and his international recognition as one of the leading composers of the 20th century. She builds up a detailed picture of Shostakovich's creative processes, how he was perceived by contemporaries and of the increased contrast between his private life and public image as his fame increased.This revised edition, produced to coincide with the centenary of Shostakovich's birth, draws on many new writings on the composer. This provides both a more detailed and focused image of Shostakovich's life, and a wider view of his cultural background. A particular aspect of Shostakovich which is revealed in this new edition is his sardonic and witty sense of humour, displayed in many of his letters to close friends.Shostakovich: A Life Remembered provides fascinating insight into the complex personality and the musical life of this great composer, and examines his position as one of the major figures of cultural life in 20th century Russia.

    Said, eminent literary critic and impassioned commentator on the Middle East. Barenboim is an Argentinian-Israeli and Said a Palestinian-American; they are also close friends.As they range across music, literature, and society, they open up many fields of inquiry: the importance of a sense of place; music as a defiance of silence; the legacies of artists from Mozart and Beethoven to Dickens and Adorno; Wagner’s anti-Semitism; and the need for “artistic solutions” to the predicament of the Middle East—something they both witnessed when they brought young Arab and Israeli musicians together. Erudite, intimate, thoughtful and spontaneous, Parallels and Paradoxes is a virtuosic collaboration.

    Led Zeppelin was the last great band of the 1960s and the first great band of the 1970's and When Giants Walked the Earth is the full, enthralling story of Zep from the inside, written by a former associate of both Jimmy Page and Robert Plant. Rich and revealing, it bores into not only the disaster, addiction and death that haunted the band but also into the real relationship between Page and Plant, including how it was influenced by Page's interest in the occult. Comprehensive and yet intimately detailed, When Giants Walked the Earth literally gets into the principals' heads to bring to life both an unforgettable band and an unrepeatable slice of rock history.

    Renowned in her time for being the most beautiful woman in Europe, the wife of two kings and mother of three, Eleanor of Aquitaine was one of the great heroines of the Middle Ages. At a time when women were regarded as little more than chattel, Eleanor managed to defy convention as she exercised power in the political sphere and crucial influence over her husbands and sons.Eleanor of Aquitaine lived a long life of many contrasts, of splendor and desolation, power and peril, and in this stunning narrative, Weir captures the woman--and the queen--in all her glory. With astonishing historic detail, mesmerizing pageantry, and irresistible accounts of royal scandal and intrigue, she recreates not only a remarkable personality but a magnificent past era.

    With candor and humor, Mauceri makes clear that conducting is itself a composition: of legacy and tradition, techniques handed down from master to apprentice--and more than a trace of ineffable magic. He reveals how conductors approach a piece of music (a calculated combination of personal interpretation, imagination, and insight into the composer's intent); what it takes to communicate solely through gesture, with sometimes hundreds of performers at once; and the occasionally glamorous, often challenging life of the itinerant maestro. Mauceri, who worked closely with Leonard Bernstein for eighteen years, studied with Leopold Stokowski, and was on the faculty of Yale University for fifteen years, is the perfect guide to the allure and theater, passion and drudgery, rivalries and relationships of the conducting life.

    In Defense of Ska is the much-needed response to years of ska-mockery. No longer do ska fans need to hide in the basement, skanking alone in their sharp suits, slim ties and porkpie hats. Now the time to take to the streets and fight music snobbery, or at least crank up the ska without being teased ruthlessly. In a mix of interviews, essays, personal stories, historical snapshots, obscure anecdotes, and think pieces, In Defense of Ska dissects, analyzes and celebrates ska in exactly the way fans have been craving for decades. This book will enlist ska-lovers as soldiers in the ska army, and challenge ska-haters’ prejudices to the core.

    An Autobiography chronicles the first half-century of Stravinsky's life, all the while offering his opinions and "abhorrences." A Parsifal performance at Bayreuth? "At the end of a quarter of an hour I could bear no more." Nijinsky? "The poor boy knew nothing of music." Spanish folk music? "Endless preliminary chords of guitar playing."

    Harry Sword traces the line from neolithic Indo-European traditions to the modern underground by way of mid-20th Century New York, navigating a beguiling topography of archeoacoustics, ringing feedback, chest plate sub bass, avant-garde eccentricity, and fervent spiritualism. From ancient beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, North Mississippi bluesmen to cone-shattering South London dub reggae sound systems, Hawkwind's Ladbroke Grove to the outer reaches of Faust, Ash Ra Temple and sonic architects like La Monte Young, Brian Eno, and John Cale, the opium-fueled fug of The Theatre of Eternal Music to the caveman doom of Saint Vitus, the cough syrup reverse hardcore of Swans to the seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow probes the power of the drone: something capable of affording womb-like warmth or evoking cavernous dread alike.This story does not start in the twentieth century underground: the monolithic undertow has bewitched us for millennia. The book takes the drone not as codified genre but as an audio carrier vessel deployed for purposes of ritual, personal catharsis, or sensory obliteration, revealing also a naturally occurring auditory phenomenon spanning continents and manifesting in fascinatingly unexpected places.Monolithic Undertow will be a book about music and the very human need for transcendence and intoxication through sound. It seeks to reveal the drone as a tool of personal liberation that exists far outside the brittle confines of commodity culture.

    In the first book to fully examine the intricate and often deadly interconnection between Russian rulers and Russian artists, cultural historian Solomon Volkov (who experienced firsthand many of the events he describes) brings to life the human stories behind some of the greatest masterpieces of our time. Here is Tolstoy, who used his godlike place among the Russian people to rail against the autocracy, even as he eschewed violence; Gorky, the first native writer to openly welcome the revolution and who would go on to become Stalin's closest cultural advisor; Solzhenitsyn, who famously brought the horrors of the Soviet regime to light. Here. too, are Nabokov, Pasternak, Mayakovsky, Akhmatova. In each case, Volkov analyzes the alternate determination and despair, hope and terror borne by writers in a country where, in Solzhenitsyn's maxim, a great writer is like a second government. This is also the story of the nation's leading lights in painting, music, dance, theater, and cinema--Kandinsky and Malevich, Rachmaninoff and Stravinsky, Diaghilev and Nijinsky, Stanislavsky and Meyerhold, and Eisenstein and Tarkovsky--and the ways in which their triumphs influenced, and were influenced by, the leadership of the time. With an insider's insight, Volkov describes what it was like to work under constant threat of arrest, exile, or execution. He reminds us of the many artists who were compelled to live as emigres, and explores not onlytheir complicated relationships with their adopted countries but Russia's love-hate relationship with Western culture as a whole--a relationship that has grown increasingly charged in the wake of the Soviet Union's collapse. Epic in scope and intimate in detail, The Magical Chorus is the definitive account of a remarkable era in Russia's complex cultural life.

    Written in 1828, in the last months of the young Schubert's life, 'Winterreise' ("Winter's Journey"), has come to be considered the single greatest piece of music ever written for the male solo voice. Deceptively brief - the twenty-four short poems are performed uninterrupted in 70 minutes - it nonetheless has an emotional depth and power that no music of its kind has ever equalled. Originally intended to be sung to an intimate gathering, performances of 'Winterreise' now pack the greatest concert halls around the world. Drawing on his firsthand experience with this work (he has performed it more than one hundred times), on his musical knowledge, and on his training as a scholar, Ian Bostridge teases out the enigmas and subtle meanings of each song, exploring the world and the states of heart and mind in which Schubert created them, and the exquisite resonance and affinities that continue, even today, to move us so profoundly.