The Master and the Soundscape. Palestrina and the musical image of Rome between the 16th and 17th centuries (original) (raw)
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Modern evaluations of the relation between music and the fashion for the antique in Italy in the period before the madrigal have tended to proceed from the perspective of intellectual history. This article aims to offer an alternative—although certainly related—perspective, by exploring the circulation of musical classicisms in Italian visual and material culture, roughly from 1450 to 1520. This period saw the rise to prominence in Italy of both commercial text printing and other multiple-copy formats such as the art print, the medal, the bronze plaquette, and a little later historiated maiolica. These technologies offer a particularly compelling lens through which to examine musical encounters with classical antiquity that were not motivated by an expert professional interest in either music or classical texts, but rather characterized by an investment in antiquity as a fashionable source of cultural capital.
Listening to Music in Early Modern Italy: Some Problems for the Urban Musicologist
Hearing the City in Early Modern Europe, 2018
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the pior permission of the publisher.
Music in the Art of Renaissance Italy 1420-1540
Music in the Art of Renaissance Italy 1420-1540 (London: Harvey Miller), 2020
Visual representations of music were ubiquitous in Renaissance Italy. Church interiors were enlivened by altarpieces representing biblical and heavenly musicians, placed in conjunction with the ritual song of the liturgy. The interior spaces of palaces and private houses, in which musical recreations were routine, were adorned with paintings depicting musical characters and myths of the ancient world, and with scenes of contemporary festivity in which music played a central role. Musical luminaries and dilettantes commissioned portraits symbolising their personal and social investment in musical expertise and skill. Such visual representations of music both reflected and sustained a musical culture. The strategies adopted by visual artists when depicting music in any guise betray period understandings of music shared by artists and their clients. At the same time, Renaissance Italians experienced music within a visual environment that prompted them to think about music in particular ways. This book offers the first detailed survey of the representation of music in the art of Renaissance Italy, and in the process opens up new vistas within the social and cultural history of Italian Renaissance music and art.
Music, Spectacle and Cultural Brokerage in Early Modern Italy, 2 vols.
Florence: Olschki, 2011
is a scholar of Italian and French music, literature, opera, theatre and culture of the late sixteenth-and early seventeenth centuries. Her publications include A Muse of Music in Early Baroque Florence: the Poetry of Michelangelo Buonarroti il Giovane (Olschki, 2007) and numerous articles.
2016
Maria Caraci Vela è professore ordinario di Filologia musicale, Storia della musica rinascimentale e Storia e critica dei testi musicali medievali e rinascimentali della Facoltà di Musicologia di Cremona (Università di Pavia), membro del collegio del dottorato di ricerca del Dipartimento di Scienze Musicologiche e Paleografico-filologiche e di vari comitati scientifici, direttrice della collana di Dipartimento «Diverse voci…» e del periodico del Dipartimento Philomusica on line e coordinatrice di diverse ricerche (COFIN, FIRB, FAR), tra cui il progetto internazionale su La notazione della polifonia vocale sec. IX-XVII e quello su La tradizione delle opere di Niccolò da Perugia: una chiave interpretativa per la storia delle forme, delle tecniche compositive, delle notazioni. Maria Caraci Vela is full Professor in Music Philology, History of Renaissance Music and Middle-Ages and Renaissance Musical Texts' history and criticism in the Faculty of Musicology (Cremona, University of Pavia), member of the PhD. Board of the Department of Paleographic, Philological and Musicological Sciences and of several scientific committees, director of the Department series «Diverse voci…», editor of the Department Review, Philomusica on line, and coordinator of several researches (COFIN, FIRB, FAR); among them the international project The notation of polyphonic music in the IX-XVII centuries, and The textual and musical tradition of Niccolò da Perugia: a new key to the riding for the history of musical forms, composition techniques, notations.
This paper will discuss the results of a survey on the soni, the centuries-old tradition of instrumental music performed by musicians from all over Italy gathered at L’Aquila every year, both in May and in August, on the octave of the feasts of Saint Peter Celestine. The accounting documents preserved to this day hand down the payment records of most of the sixteenth century feasts and a significant percentage of the seventeenth, allowing us to uncover more than a thousand names of popular musicians between ensembles and soloists. In this case I will analyse the share of mid-Adriatic provenance – from the Marche to the northern Apulia, with a specific attention to the Abruzzi –, focusing on the respective instrument combinations and their possible repertoires.
Baronial Patronage of Music in Early Modern Rome (book)
Routledge, 2018
This is the first dedicated study of the musical patronage of Roman baronial families in the sixteenth and early seventeenth centuries. Patronage - the support of a person or institution and their work by a patron - in Renaissance society was the basis of a complex network of familial and political relationships between clients and patrons, whose ideas, values, and norms of behavior were shared with the collective. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence. Keywords: Orsini family, Medici family, Colonna family, patronage of poetry and music in Rome (and Florence, ca. 1550-1656). The book also provides new information on various poets, singers, and composers, including Antonio Barre, Tommado Cimello, Giovanni dell'Arpa, Pietro Vinci, Diego Ortiz, Giovanni Pierluigi da Palestrina, Hieronimo Tastavin, Giulio Cesare Brancaccio, Scipione delle Palle, Luca Marenzio, Piero Strozzi, Giovanni Battista Strozzi il giovane, Emilio de Cavalieri, Francesco Rasi, Giulio Caccini, Francesca Caccini, Cristofano Malvezzi, Torquato Tasso, Ottavio Rinuccini, Vittoria Archilei, Isabella Andreini, Onofrio Gualfreducci, Simone Ponte, Cesare Zoilo, Francesco Petratti, Giovanni Marciani, Carlo Rainaldi, Giovanni Rovetta, Francesco Manelli, Stefano Landi, Claudio Monteverdi, Luigi Rossi, Venanzio Leopardi (among many others).