The Oxford Handbook of Music and Medievalism

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Introduction
Stephen Meyer and Kirsten Yri
Section 1: Romanticizing the Medieval: The Longing for the Middle Ages in the Nineteenth Century
1. Medievalisms in Early Nineteenth-Century German Thought
Laura K. T. Stokes
2. From Knight Errant to Family Man: Romantic Medievalism and Domesticity in Brahms's 15 Romanzen aus L. Tieck's Schone Magelone, op. 33 (1865, 1869)
Marie Sumner Lott
3. Liszt's Medievalist Modernism
Balazs Mikusi
4. Soldiers and Censors: Verdi's Medieval Imagination
Liana Puschel
5. The Distant Past as Mirror and Metaphor: Portraying Medievalism in Historical French Grand Operas
Diana Hallman
6. Medievalism and Regionalist Identity in Lalo's Le Roi d'Ys
Elinor Olin
7. Romantic Medievalist Nationalism in Schumann's Genoveva, Then and Now
Michael S. Richardson
8. The Middle Ages in Richard Wagner's Music Dramas
Barbara Eichner
Section 2: Performing the Middle Ages
9. Medievalism at the University: Collegia and Choral Societies
Jacob Sagrans
10. Medieval Folk in the Revivals of David Munrow
Edward Breen
11. Re-sounding Carl Dreyer's La Passion de Jeanne d'Arc
Donald Greig
Section 3: Medievalism and Compositional Practice in the Twentieth Century
12. Medievalism and Anti-Romanticism in Carl Orff's Carmina Burana
Kirsten Yri
13. Past Tense: Creative Medievalism in the Music of Margaret Lucy Wilkins
Lisa Colton
14. Hucbald's Fifths and Vaughan Williams's Mass: The New Medieval in Britain Between the Wars
Deborah Heckert
15. Complexity and Appeal of Codex Chantilly Six Hundred Years Hence
Aleksandra Vojcic
16. Linear Practices in the Music of Arvo Part
Laura Dolp
17. The Postmodern Troubadour
Anne Stone
Section 4: Reimagining the Medieval Woman
18. Tolling Bells and Otherworldly Voices: Joan of Arc's Sonic World in the Early Twentieth Century
Elizabeth Dister
19. Medievalism and Rued Langgaard's Romantic Image of Queen Dagmar
Nils Holger-Petersen
20. Nature as Enlightenment in Vision-Aus dem Leben der Hildegard von Bingen
Jennifer Bain
21. Disciplining Guinevere: Courtly Love and the Arthurian Tradition from Henry Purcell to Donovan Leitch
Gillian L. Gower
Section 5: Echoes of the Middle Ages in Folk, Rock, and Metal
22. Early Music and Popular Music: Medievalism, Nostalgia, and the Beatles
Elizabeth Upton
23. Ramble On: Medievalism as Nostalgic Practice in Led Zeppelin's use of J. R. R. Tolkien
Caitlin Carlos
24. A Gothic Romance: Neomedieval Echoes of Fin'amor in Gothic and Doom Metal
Ross Hagen
25. Viking Metal
Simon Trafford
26. Medievalism and Identity Construction in Pagan Folk Music
Scott R. Troyer
Section 6: Medievalism of the Screen
27. From the Music of the Ainur to the Music of the Voiceover: Sounding Medievalism in The Lord of the Rings Stephen C. Meyer
28. Faith, Fear, Silence and Music in Ingmar Bergman's Medieval Vision of The Virgin Spring and The Seventh Seal
Alexis Luko
29. Hope Against Fate or Fata Morgana? Music and Mythopoiesis in Boorman's Excalibur
David Clem
30. The Many Musical Medievalisms of Disney
John Haines
31. Evil Medieval: Chant and the New Dark Spirituality of Vietnam-Era Film in America
James Deaville
32. Fantasy Medievalism and Screen Media (Game of Thrones)
James Cook
33. Gaming the Medievalist World in Harry Potter
Karen M. Cook

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The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

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