000			01667nab a2200217 c 4500
001			myd_95130
003			ES-MaCDM
005			20240917124659.0
008			181003s2019 enk||||fr 00| u|eng u
040			_aES-MaCDM
100	1		_aEyerly, Sarah _9141368
245	1		_aMozart and the Moravians/ _cSarah Eyerly
260			_aLondon; Oxford: _bOxford University Press, _c2019
300			_cpáginas
336			_aTexto (visual)
337			_asin mediación
520			_aBeginning in the 1730s, members of the German Moravian church established a transnational network of mission communities across the Atlantic world. Moravian missions were polyglot communities, variously populated by German, English, Delaware, Mohican, Arawak and Inuit Christians. Moravian sacred music reflected this racial, ethnic and linguistic diversity, and vocal works were often performed in several different languagues, depending on the background of the performers and listeners. This article investigates the Moravian contrafacts of Mozart compositions such as "Ave verum corpus", shedding light on the role of indigenous musicians in making such adaptations. Multi-lingual, transcultural musical creation like this involved a process of negotiation between missionaries and indigenous Christians. The complexity of these negotiations is suggested by the modern-day performance practices of Inuit Moravian musicians in coastal Labrador, where contrafacts of European-derived music such as "Ave verum corpus" have been performed since the early 19th century.
773	0		_tEarly Music _072886 _wmyd_16029 _gVol. 47, núm. 2,May. 2019, p.
903			_a95130 _b95130
942			_cART _2z
999			_c129777 _d129777