Rebecca Cypess | Mason Gross School of the Arts, Rutgers The State University of New Jersey (original) (raw)
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Papers by Rebecca Cypess
Music & Letters, Mar 15, 2023
ABSTRACT While the correspondence of the Black British writer, musician, butler, and shopkeeper I... more ABSTRACT While the correspondence of the Black British writer, musician, butler, and shopkeeper Ignatius Sancho has long been recognized as pioneering in its use of the sentimental literary style to articulate anti-racist and anti-slavery positions, his music has largely evaded serious interpretative consideration. This essay considers one way in which Sancho apparently used music to convey his moral messages. His song ‘Sweetest Bard’ and his instrumental dance piece ‘Mungo’s Delight’ suggest that he adopted and reappropriated the persona of the ‘wise fool’, a figure well known to eighteenth-century readers from characters such as Shakespeare’s Falstaff, Sterne’s Yorick, and Cervantes’s Sancho Panza. Understanding these two pieces of music through the lens of the wise fool helps to elucidate Sancho’s use of music as a means of calling attention to the prejudices of white British society.
University of Chicago Press eBooks, 2016
Routledge eBooks, Jul 11, 2022
University of Chicago Press eBooks, 2016
Cambridge University Press eBooks, Jan 3, 2019
University of Chicago Press eBooks, 2016
Music & Letters, Aug 1, 2019
The musical ladies of Alfonso II d'Este's illustrious concerto delle donne have long held a place... more The musical ladies of Alfonso II d'Este's illustrious concerto delle donne have long held a place of fascination in Western music history discourses. Lesser known, however, are the musical activities of Ferrara's sixteenth-century women religious, including their interactions with the city's secular court. While the musicological awareness of early modern convents is certainly increasing-thanks initially to foundational works by Craig Monson and Robert Kendrick, followed shortly by Colleen Reardon and more recently Janet Page-the majority of studies have focused on women religious from the late sixteenth through the eighteenth century in Bologna, Milan, Siena, and Vienna, leaving the musical women of Ferrara more or less untouched since Anthony Newcomb's The Madrigal at Ferrara, 1579-1597. 1 Adding to this growing body of research and expanding upon Newcomb's work is Laurie Stras's much-anticipated monograph, in which the musical practices of Ferrara's early modern convents are brought into dialogue with those of the secular noblewomen of the Este court. Stras organizes her text chronologically in nine chapters that follow the lives of the Este noblewomen and their dealings with the city's convents. Aft er a brief introduction to Ercole I's and Eleonora d'Este's fi ft eenth-century cultivation of Ferrara's monastic spaces, Stras continues with Lucrezia Borgia (wife of Alfonso I d'Este) in the early sixteenth century through to the dissolution of the concerto delle donne and the devolution of Ferrara at the end of the 1590s. Throughout the narrative, Stras skillfully marries the sacred and profane while providing a musical backdrop to the complex political and social lives of the Este noblewomen who moved fl uidly between Ferrara's secular and sacred spaces. The fi rst chapter provides a general overview of convent life in early modern
Music & Letters, Aug 1, 2017
University of Chicago Press eBooks, 2016
University of Chicago Press eBooks, 2016
University of Chicago Press eBooks, 2016
Journal for Eighteenth-Century Studies
Frescobaldi's Toccate e partite … libro primo (1615-1616) as a pedagogical text : artisanship, imagination, and the process of learning, 2015
Music and Jewish Culture in Early Modern Italy, Mar 1, 2022
Music & Letters, Mar 15, 2023
ABSTRACT While the correspondence of the Black British writer, musician, butler, and shopkeeper I... more ABSTRACT While the correspondence of the Black British writer, musician, butler, and shopkeeper Ignatius Sancho has long been recognized as pioneering in its use of the sentimental literary style to articulate anti-racist and anti-slavery positions, his music has largely evaded serious interpretative consideration. This essay considers one way in which Sancho apparently used music to convey his moral messages. His song ‘Sweetest Bard’ and his instrumental dance piece ‘Mungo’s Delight’ suggest that he adopted and reappropriated the persona of the ‘wise fool’, a figure well known to eighteenth-century readers from characters such as Shakespeare’s Falstaff, Sterne’s Yorick, and Cervantes’s Sancho Panza. Understanding these two pieces of music through the lens of the wise fool helps to elucidate Sancho’s use of music as a means of calling attention to the prejudices of white British society.
University of Chicago Press eBooks, 2016
Routledge eBooks, Jul 11, 2022
University of Chicago Press eBooks, 2016
Cambridge University Press eBooks, Jan 3, 2019
University of Chicago Press eBooks, 2016
Music & Letters, Aug 1, 2019
The musical ladies of Alfonso II d'Este's illustrious concerto delle donne have long held a place... more The musical ladies of Alfonso II d'Este's illustrious concerto delle donne have long held a place of fascination in Western music history discourses. Lesser known, however, are the musical activities of Ferrara's sixteenth-century women religious, including their interactions with the city's secular court. While the musicological awareness of early modern convents is certainly increasing-thanks initially to foundational works by Craig Monson and Robert Kendrick, followed shortly by Colleen Reardon and more recently Janet Page-the majority of studies have focused on women religious from the late sixteenth through the eighteenth century in Bologna, Milan, Siena, and Vienna, leaving the musical women of Ferrara more or less untouched since Anthony Newcomb's The Madrigal at Ferrara, 1579-1597. 1 Adding to this growing body of research and expanding upon Newcomb's work is Laurie Stras's much-anticipated monograph, in which the musical practices of Ferrara's early modern convents are brought into dialogue with those of the secular noblewomen of the Este court. Stras organizes her text chronologically in nine chapters that follow the lives of the Este noblewomen and their dealings with the city's convents. Aft er a brief introduction to Ercole I's and Eleonora d'Este's fi ft eenth-century cultivation of Ferrara's monastic spaces, Stras continues with Lucrezia Borgia (wife of Alfonso I d'Este) in the early sixteenth century through to the dissolution of the concerto delle donne and the devolution of Ferrara at the end of the 1590s. Throughout the narrative, Stras skillfully marries the sacred and profane while providing a musical backdrop to the complex political and social lives of the Este noblewomen who moved fl uidly between Ferrara's secular and sacred spaces. The fi rst chapter provides a general overview of convent life in early modern
Music & Letters, Aug 1, 2017
University of Chicago Press eBooks, 2016
University of Chicago Press eBooks, 2016
University of Chicago Press eBooks, 2016
Journal for Eighteenth-Century Studies
Frescobaldi's Toccate e partite … libro primo (1615-1616) as a pedagogical text : artisanship, imagination, and the process of learning, 2015
Music and Jewish Culture in Early Modern Italy, Mar 1, 2022
H-France Reviews, 2015
The seventeenth century has long been recognized as a liminal moment in European cultural history... more The seventeenth century has long been recognized as a liminal moment in European cultural history. It was an age of invention, of discovery, of artistic and scientific innovation. Leading writers of the period-Francis Bacon, René Descartes, and many others-developed systems to organize and evaluate knowledge of history and natural philosophy. Thinkers and practitioners working in music and visual art, in poetry and theater, in political and social sciences, grappled with these new realities and challenges. Paradoxically, perhaps, recognition of the limitations of human knowledge was central to the work of these revolutionary thinkers, many of whom expressed doubts about their capacity to perceive and understand the world. [1]
Min-Ad: Israel Studies in Musicology, 2014
Early Music, 2011
Nach englischer und frantzösischer Art': Vie et oeuvre de Carlo Farina (avec l'édition des cinq r... more Nach englischer und frantzösischer Art': Vie et oeuvre de Carlo Farina (avec l'édition des cinq recueils de Dresde) (Turnhout: Brepols, 2010), €60
Early Music America, 2010
Early Music America, 2009
Early Music America, 2008