The Oar, the Trumpet, the Drum: Music and Galley Servitude in Spanish Naples (original) (raw)
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CONFERENCE / Soundscapes of Naples. From the Medieval to the Early Modern. / Naples, 8-10 June 2023
2023
SOUNDSCAPES of NAPLES: FROM THE MEDIEVAL TO THE EARLY MODERN / PAESAGGI SONORI di NAPOLI dal MEDIOEVO all'ETA' MODERNA Naples, 8-10 June 2023 A conference organized by the Centro per la Storia dell'Arte e dell’Architettura delle Città Portuali and the Butler School of Music in collaboration with Società Napoletana di Storia Patria, Conservatorio di Musica San Pietro a Majella di Napoli, Il Cartastorie / museo dell'Archivio Storico del Banco di Napoli, Fondazione Banco di Napoli, Fondazione Culturale De Felice, Amici di Capodimonte. The conference includes a concert of medieval music performed by Ensemble Micrologus at the Conservatorio di Musica San Pietro a Majella di Napoli.
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.
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.
This paper explores the crucial role of sound and aural communications during the Revolution of Naples of 1647-48, one of the most significant political upheavals in early modern Europe. The revolution persisted for over nine months, spreading throughout the Kingdom and resulting in the establishment of a short-lived Republic that challenged Spanish Habsburg rule, fueling an unprecedented wave of political radicalism. By analyzing a diverse range of primary sources, including chronicles, newsletters, pamphlets, songs, correspondence, paintings, and drawings, this paper delves into the soundscape of the revolution. It investigates how sound served as a vital form of communication for the insurgents, reflecting the intensifying political and social tensions of the era. The paper examines the sounds of conflicts and the collective voices of the crowds. These auditory elements played a pivotal role in rallying support for the popular movement and shaping its political discourse. Furthermore, they constituted an integral part of the revolution’s media ecosystem, with street cries and slogans employed to convey political messages to the predominantly illiterate population. The paper also explores the significant involvement of musical performances in the revolution, shedding light on their impact. Lastly, the research briefly touches upon the evolution of theatrical adaptations of the event throughout the centuries, emphasizing contemporary interpretations. By examining the role of sound and aural communications in the Neapolitan uprising, this study offers valuable insights into its historical significance and enduring global impact.
Musicians in the Mediterranean: Narratives of Movement [Naples, June 21-26, 2016]
Songs in transit: a social narrative through musical grafting in the Neapolitan repertoire The Neapolitan song—as a site of contact and convergence between the diverse cultures and civilizations of the Mediterranean—has always been the meeting ground of engaging narratives in transit. By virtue of this, the identity dimension of Naples is of spontaneous integration and constant observation of the foreigner. Singing in Neapolitan dialect has become a national cultural expression and, through the vocal style and manner of local production, it has contributed to recount the experience of a country turning into a nation [1880-1920], then a nation throwing into the colonial experiences [1890-1940s] and today a Mediterranean region preparing its personal way of meeting the Islamic world. So that, the practice of inclusion and appropriation of stories resulting in the relationship with the traveller, is a model that we know to be practiced yesterday and today. In this paper I will observe the phenomenon of Neapolitan song as a narrative through excerpts from the repertory of the Italian diaspora, colonial propaganda and that contemporary one emerging in contact with the Muslim community. In all three cases chosen, the city has expressed strong identity. In the perspective of meeting the foreigner or traveller, Naples counts a path of self-expression through music as a form of behavior, and –as evidenced by Norton H. Fried and Marcello Sorce Keller— this form of behavior often becomes symbol and metaphor for other [not musical] aspects of the socio-economic life.
18 The ‘Other’ Coastal Area of Venice: Musical Ties with Istria and Dalmatia
A Companion to Music in Sixteenth-Century Venice, 2018
Fees are subject to change. This book is printed on acid-free paper and produced in a sustainable manner. Cover illustration: Giacomo Franco, The dogaressa aboard the Bucintoro and Accompanied by other Noble Ladies goes from her Palace to the Ducal Palace, engraving. With kind permission of the Biblioteca NAZIONALE Marciana, Venice.
Delights of Posillipo, Terrors of Vesuvius: Music, Spectacle, and Identity in Early Modern Naples
2015
This thesis examines musico-dramatic activities centered at the Spanish viceregal court of Naples during the years 1608-1630 and positions them as reflective of shifting socio-political practices occurring in the cultural milieu of the city in the seventeenth century. I argue that three spectacles written by the writer and courtier Giambattista Basile expose emergent Neapolitan identities within the colonial society of Spanish-occupied Naples. Utilizing Mary Louise Pratt’s (1991) concept of the contact zone, I read these works as instances of autoethnography, a medium involving a conscious blending of forms and idioms, necessitating both negotiation and collaboration between cultures of the occupant and occupied. Within the contact zone of Naples, mythology, history, and lived experience coalesced into a shared phenomenology of the city, creating an integrative soundscape where Neapolitans of multiple social spheres interacted through spectacle. In his writings, Basile sought to ext...