Melvin 8 Spenser’s Equations of His Queen with Christ: Royal Supremacy and Royal Psalms Carol V. FergusonĦ Rightful Penitence and the Publication of Wyatt’s Certayne Psalmes 155 Clare Costley King’oo 7 Psalm 44 (45) and Nuptial Spirituality in Juan de Avila’s Audi, filia ā75 James F. Orvis Part 1ġ Listening to the Psalms among the Huguenots: Simon Goulart as Music Editor Richard Freedman 2 William Byrd’s English Psalms Roger Bray 3 “For Musicke is the Handmaid of the Lord”: Women, Psalms, and Domestic Music-Making in Early Modern England Linda Phyllis Austern 4 “How Shall We Sing the Lord’s Song in a Strange Land?”: A Transatlantic Study of the Bay Psalm Book Joanne van der Woude Part 2ĥ Miles Coverdale and the Claims of Paraphrase Jamie H. BS1430.55.P73 2011 264’.15-dc23 2011021705 ISBN: 978-2-2 (hbk) ISBN: 978-8-3 (ebk)Ĭontents List of Figures List of Musical Examples Notes on Contributors Prefatory Note Acknowledgments Introduction Linda Phyllis Austern, Kari Boyd McBride, and David L. 223.2’0094’0903-dc22 Library of Congress Cataloging-in-Publication Data Psalms in the early modern world / edited by Linda Phyllis Austern, Kari Boyd McBride, and David L. Psalms (Music) – Europe – History and criticism. Psalms – Influence – Western civilization. Psalms – Criticism, interpretation, etc – History – Middle Ages, 600–1500. British Library Cataloguing in Publication Data Psalms in the early modern world. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Orvis have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work.
Linda Phyllis Austern, Kari Boyd McBride and David L. ORVIS Appalachian State University, USAįirst published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 The editors and contributors. This page has been left blank intentionallyĮdited by LINDA PHYLLIS AUSTERN Northwestern University, USA KARI BOYD MCBRIDE University of Arizona, USA and DAVID L. Orvisġ Listening to the Psalms among the Huguenots: Simon Goulart as Music Editorģ “For Musicke is the Handmaid of the Lord”: Women, Psalms, and Domestic Music-Making in Early Modern EnglandĤ “How Shall We Sing the Lord’s Song in a Strange Land?”: A Transatlantic Study of the Bay Psalm Bookĥ Miles Coverdale and the Claims of ParaphraseĦ Rightful Penitence and the Publication of Wyatt’s Certayne Psalmesħ Psalm 44 (45) and Nuptial Spirituality in Juan de Avila’s Audi, filiaĨ Spenser’s Equations of His Queen with Christ: Royal Supremacy and Royal Psalmsĩ Re-revealing the Psalms: Mary Sidney, Countess of Pembroke, and Her Early Modern Readersġ0 Sibling Harps: The Sidneys and the Chérons Translate the Psalmsġ1 David’s Lyre, Kabbalah, and the Power of Musicġ2 Reading her Psalter: The Virgin Mary in the N-Town Playġ3 The Pre-Hispanic Poetics of Sahagún’s Psalmodia christianaĮdited by Linda Phyllis Austern Kari Boyd McBride and David L. See the entire performance by the UC Davis Symphony Orchestra.Linda Phyllis Austern, Kari Boyd McBride, and David L. Both are translated below with the English and original Latin side by side.
The first song in the section is O Fortuna and the second song is Fortunae Plango Vulnera, a shorter number with male-only verses. The first two movements Carmina Burana comprise the Fortuna Imperatrix Mundi (Fortune, Empress of the World) section. It is composed in Latin and traditionally sung by huge choirs, so the words are difficult to make out. Although O Fortuna is a popular score for dramatic film scenes, it is also frequently parodied in "misheard lyrics" videos. O Fortuna is the opening and closing movement in the Latin cantata Carmina Burana by German composer Carl Orff.
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