Baroque Music Research Papers - Academia.edu (original) (raw)

2025

This volume examines the social and aesthetic practices of courtly festivity in early modern literature, focusing on the interplay between power, representation, and illusion. Rather than viewing court festivals solely as ephemeral spectacles or sites of political display, the contributions explore their function as moments of cultural self-fashioning and memory formation. Through literary and historiographical analyses, the volume reveals how festivals produce images of authority, structure social roles, and open a space for self-reflection and critique—particularly where texts engage the dynamics of flattery, favor, and spectacle. By drawing on praxeological and semiotic approaches, the contributions investigate both the strategic and tactical dimensions of court culture, emphasizing the active participation of courtiers, artists, and authors in the fabrication of political meaning.

2025, IMF working paper

The views expressed in this Working Paper are those of the author(s) and do not necessarily represent those of the IMF or IMF policy. Working Papers describe research in progress by the author(s) and are published to elicit comments and to further debate. This paper presents a theoretical framework for analyzing pricing structures in debit card schemes featuring cardholders, retailers, their respective banks, and a network routing switch. The network routing switch controls the electronic debit card network and is jointly owned by the banks. In setting its prices, it needs to consider getting both consumers and retailers to participate in the market. In this two-sided market for debit cards, we show that the "double-monopolistic" network routing switch may want to supply consumers with cheap debit cards, deriving profits from charging a high retailer fee per transaction. This theoretic result resembles the current practice in the Netherlands where consumers pay no transaction fee, but retailers do. This corner solution carries over when we analyze socially optimal pricing.

2025

Sobre todo, me gustaría agradecer la atención cercana y ayuda del director de presente trabajo fin de master, Emilio Moreno Aguado, que ha sido un guía y supervisor excelente durante el proceso de la elaboración del trabajo, de principio a fin. También me gustaría dar las gracias a mi professor de violín, Manfredo Kraemer, que con su aportación de ideas musicales me ayudó a desarrollar mi creatividad necesaria para la elaboración de mis propias versiones ornamentadas y compartió su opinion sobre ellos.

2025

What does it take to see a tragedy? Who has the priviledge of oblivion? In this essay we explore the presence and display of African children and artifacts in eighteenth-century Paris via their visual, material, and textual traces. While considering how such traces can help conjure or visualize human lives and ephemeral events, we also probe a paradox we call 'spectacular blindness'. Although individuals and artifacts of African descent were conspicuously visible at the French court, they were rarely fully seen-and, in the case of enslaved children, their subjectivity and the trauma they experienced were seldom acknowledged. We argue that the pervasive visibility of these individuals paradoxically made their humanity invisible to enslavers or turned that humanity into a tool for elite white self-expression and domination. Constantly put on display, they became spectacular blind spots, and, until recently, they have also been absent from most art historical narratives. Even today, their existence and portrayal can be met with disavowal and silence.

2025, Early Music History

Music historiography has traditionally understood and described collective singing in the early modern era as an almost exclusive prerogative of Protestant communities. Recent and less recent studies, however, have recorded numerous occurrences of Catholic communal singing, for instance during processions, pilgrimages or popular missions. In spite of this, and even though several traditions (such as the Italian lauda) have been investigated in some depth, a comprehensive assessment of such singing practices and of their role in the surrounding soundscape is still wanting. Starting from a discussion of the causes of this ‘selective deafness’ in historiography, and moving on to a case study of late-fourteenth- to early-seventeenth-century Milan, the present article aims to start filling the lacuna and to demonstrate that communal singing was an important (if not always uncontroversial) element of Catholic sonic cultures in the early modern era.

2025

L’archivio dello storico dell’arte pietroburghese Vladimir Frolov contiene un album con vedute italiane, appartenuto al suo trisavolo, il famoso architetto Nikolaj Benois (1813-1898). L’album 'italiano' contiene 48 raffinati acquerelli, tra i quali dominano quelli raffiguranti la Città Eterna e i suoi grandi monumenti, ma anche molti soggetti poco conosciuti, quali la periferia di Roma e varie località dell’Italia meridionale.

2025, University of Oklahoma

Johann Sebastian Bach composed five annual sets of sacred cantatas based on the Lutheran liturgical calendar. Bach carefully constructed cantatas with his exceptional musical ability and deep theological understanding to enhance the sermon of the given day. Nevertheless, Bach cantatas have often been left unperformed in modern churches due to the intricacy of the vocal parts, limited resources in modern churches and historical instruments that are no longer readily available. The purpose of this study is to explore accessible Bach cantatas for church choirs comprised of amateur singers. Through the research process, about thirty-five cantatas were revealed to be relatively accessible. The selections are discussed under the following five categories to elucidate general features and facilitate their performance by church choirs: style, orchestration, Baroque instruments, substitution of modern instruments, and issue of vocal range. The last chapter specifically discusses BWV 133, one of the most approachable cantatas, to demonstrate how Bach achieved the spiritual goal of the given day through musical interpretation of the text and his theological acumen. Many church choirs are unfamiliar with Bach cantatas. However, once they work through the whole rehearsal process and completely master an approachable cantata, they will gain confidence to perform more difficult works in the future. In this way, more of Bach's church cantatas will be heard beyond concert halls, and in the setting for which they were originally intended. v ACKNOWLEDGEMENTS First and foremost, I express my sincere thanks to God for providing abundantly all my needs to complete my degree at OU. Without God's grace, my doctoral study in this foreign land would not have been possible. All the committee members are blessings and gifts God has provided me. I gratefully recognize my advisor Dr. Richard Zielinski for his endless encouragement and insightful guidance, based on his extensive experience and knowledge. Dr. David Howard has always listened to me and provided encouragement. I will remember throughout my life Dr. Howard's positive energy, kindness and generosity. I am also grateful to the rest of my committee members Dr. Lamb, Dr. Saltzstein and Dr. Cavazos for their brilliant comments, instruction and warm hearts. Many and special thanks to Rachael Lester, Gail Gunning and Seokmoon Choi who helped me to edit this dissertation and transcribed scores for the musical examples. I extend my deepest gratitude to my family in Korea for their countless prayers, sincere support and enduring love. I love you with all my heart, Mom and Dad. I cannot imagine my life without you. I know how much you have sacrificed for me and poured out all your hearts to me. My ultimate gratitude once again goes to God, who stands me up and gives me new strength at every moment. Glory and praise be to the heavenly father for ever and ever! Amen! vi CONTENTS ABSTRACT………………………………………………………………………………………iv ACKNOWLEDGEMENTS……………………………………………………………………….v CONTENTS………………………………………………………………………………………vi LIST OF TABLES……………………………………………………………………………….vii LIST OF MUSICAL EXAMPLES………………………………………………………………vii CHAPTERS I. Introduction…………………………………………………………………………………….1 A. Musical and Theological Excellence of Bach Cantatas………………………………1 B. Need for Researching Accessible Cantatas for Church Choirs………………………4 C. Research Procedure and Criteria for Accessible Cantatas……………………………5 II. Development of the Stylistic Features of Bach Cantatas………………………………………8 III. Selected Accessible Cantatas and Guidance…………………………………………………15 A. Styles of the Accessible Cantatas…………………………………………………...17

2025, Journal of Music, Technology & Education

Playing a string instrument, such as the violin, requires solving many problems in controlling the bow. For example, the player may find that ‘saving bow’ is crucial to getting through a passage, yet not know why. Computer models may be able to help musicians to understand such problems better and to find solutions. We have developed a simple bowing model that analyses a piece of music and calculates predicted bow speeds and positions. The model takes account of notes, slurs and ties, tempo, and dynamics. It has been implemented as a computer program that reads a score, analyses it and outputs an annotated score that indicates detailed information about the predicted bow positions and speeds. To support practical applications, as well as further research, the model needs to be validated and calibrated. In this article, we compare the predictions of the model with the performances of one of us, a violinist with a professional violin performance education. The results indicate that th...

2025

Trzy wieże Leopoldiny Gmach Uniwersytetu Wrocławskiego jako symbol władzy cesarskiej we Wrocławiu Monumentalny gmach Uniwersytetu Wrocławskiego to bez wątpienia największa budowla doby baroku we Wrocławiu i jedna z największych, jakie powstały w tym czasie na całym Śląsku (il. 1). Wyróżniają ją nie tylko ogromne rozmiary, lecz także znakomita architektura oraz niezwykle bogaty malarsko-rzeźbiarski wystrój i wyposażenie reprezentacyjnych wnętrz. To wyjątkowe dzieło wzbudzało powszechny podziw już w pierwszych latach po swoim powstaniu 1 , mimo że-jak wiadomo-zrealizowana została tylko część pierwotnego projektu jezuickiej akademii we Wrocławiu. Jej budowę przerwało bowiem wkroczenie wojsk pruskich na Śląsk w 1740 roku. Gdyby doszło do pełnej realizacji pierwotnego projektu budynku Uniwersytetu Wrocławskiego, to uzyskałby on jeszcze bardziej monumentalną architektoniczną bryłę. Jej planowany imponujący wygląd

2025

Penelitian ini mengkaji konsumsi fantasmatik terhadap sneakers Compass di kalangan mahasiswa Universitas Negeri Makassar (UNM) melalui kerangka psikoanalisis Lacan, teori simulasi Baudrillard, dan spiritualitas Islam. Penelitian menggunakan metode kualitatif-interpretatif dengan desain hermeneutika eksistensial Heidegger dan semiotika Barthes. Data dikumpulkan melalui wawancara tak terstruktur, observasi partisipasi pasif, dan dokumentasi simak-catat, kemudian dianalisis secara tematik. Hasil penelitian menunjukkan bahwa mahasiswa UNM pertama-tama terlibat dalam identifikasi imajiner terhadap sneakers Compass sebagai object petit a—yakni citra kekerenan, kenyamanan, keasikan, menjadi menawan, menjadi seniman, menjadi berbeda dengan lainnya, menjadi tidak feminim, menjadi trendi atau ketrendinan, menjadi beruntung, merasa mendapatkan perubahan diri, menjadi orang tertentu, dan menjadi Indonesia. Identifikasi ini kemudian melahirkan jouissance seperti merasa jelek, norak, tidak menawan, menjadi bahan cerita, capek, bosan, ketidaknyamanan, tidak trendi lagi, tidak diperhatikan orang sekitar, tidak ada perubahan diri, tidak asik, tidak keren, merasa asing, feminim, dan tidak berbeda.
Ketika mengalami jouissance, subjek terus melakukan identifikasi imajiner secara terus-menerus terhadap sneakers Compass versi lain dan sneaker lain (di luar Compass). Keadaan ini membuat subjek (mahasiswa UNM) berjalan di realitas tanda dan mengalami obesitas tanda, di mana mereka tidak sedang mengalami obesitas biologis, tetapi kenyang karena nutrisi tanda yang diproduksi oleh citra-citra simbolik. Pada titik inilah produsen bekerja melalui permainan tanda lewat strategi re-branding, yang pada awalnya secara denotasi merupakan sepatu sekolah dengan nilai tukar menengah ke bawah. Brand-brand Compass yang diproyeksikan antaranya Compass 98 Vintage, Compass edisi Retrograde, Compass edisi kolaborasi (Compass X Jason Ranti, X KPR, X Mata Najwa), Compass edisi Xpresi, Compass RGB Slip-on, dan Compass Retrograde Slip-on. Sebagai respons terhadap dominasi simbolik ini, reposisi simbolik ditawarkan melalui QS Al-Ikhlas, Al-Falaq, dan An-Nas sebagai bentuk jeda spiritual yang membebaskan subjek dari jeratan pencitraan diri yang terus direproduksi oleh pasar.

2025, Saggiatore musicale

In 1997 a non-profit foundation was established at Naples to revive the distinguished tradition of music and theater of the 16 th through 18 th centuries. This was a tradition particularly well developed when this region was known as the Regno di Napoli (Kingdom of Naples). In 2010 the foundation took the name Fondazione Pietà de' Turchini-Centro di Musica Antica after the most famous of the four historic conservatories, Santa Maria della Pietà de' Turchini. In 2003 the foundation gave birth to a publishing house, the Turchini Edizioni, already responsible for a number of distinguished contributions, including this two-volume set of twenty essays in 2019 edited by Francesco Cotticelli and Paologiovanni Maione. These studies, dedicated to various aspects of music at Naples, reveal, if many only partially, the great wealth of information available concerning the Kingdom in the Seicento. Paologiovanni Maione's essay, La scena sfuggente (pp. 1-18), recalls the poetic wonder and pleasure of those who have worked in the vast archives of Naples. Maione, who in other publications has made pioneering discoveries concerning the many musical confraternities or congregations of 17 th century Naples (see his «Esquisita e scelta musica» nelle confraternite e congregazioni napoletane fra Sei e Settecento, in La musica dei semplici. L'altra Controriforma, ed. by Stefania Nanni, Roma, Viella, 2012, pp. 155-172), as well as the names and salaries of musicians of the royal chapel under Alessandro Scarlatti (see F. Cotticelli-P. Maione, Le istituzioni musicali a Napoli durante il Viceregno Austriaco (1707-1734). Materiali inediti sulla Real Cappella ed il Teatro di San Bartolomeo, Napoli, Luciano, 1993), evokes the beautiful and sensual eyes of Giulia de Caro, perhaps the most memorable and sensual singer of the 17 th century (see P. Maione, Giulia de Caro «famosissima armonica» e "Il bordello sostenuto" del signor don Antonio Muscettola, Napoli, Luciano, 1997). As she makes fun of her lovers, imagined by the painter Luca Giordano as Cleopatra,

2025

Di una produzione eglogistica del giovane Marino abbiamo notizia unicamente da una lettera indirizzata a Giovan Battista Manso nell’estate del 1594, dopo la quale delle Egloghe si perde di fatto ogni traccia fino alla comparsa, assai più avanti, di una serie di iniziative editoriali che diffondono, nell’ambito di una circolazione priva di qualunque controllo da parte dell’autore, un corpus di testi bucolici identificabili con quelli a suo tempo annunciati. Questo volume, aperto da un’introduzione che sottopone le prove pastorali mariniane a un’originale e attenta rilettura al fine di definirne il ruolo all’interno dell’opera e della biografia del poeta, anche in rapporto alla tradizione pregressa del genere bucolico, propone per la prima volta delle Egloghe un’edizione critica, fondata sull’escussione di tutti i testimoni manoscritti e a stampa finora noti, di cui si dà dettagliatamente conto nell’ampia nota al testo. Oltre che dal consueto apparato, il testo critico di ciascun componimento è corredato da puntuali annotazioni filologiche, che consentono al lettore di ripercorrere la dinamica della tradizione e di verificare, luogo per luogo, le singole scelte editoriali.

2025

Esta comunicación pretende determinar los diferentes estilos de música polifónica interpretados en los oficios de Vísperas de la Catedral de Orihuela durante los siglos XVII y XVIII. Para ello se utilizarán los datos del Libro Verde, el manual litúrgico de dicha iglesia, redactado inicialmente en 1604 y revisado a principios del siglo XVIII. Este libro ceremonial ofrece información clave para la reconstrucción musical de las distintas celebraciones, ya que, a lo largo del texto, va enumerando los tipos de música polifónica que debían ser empleados, como la música «a coros» —esto es, en stile moderno—, la música «a 4» —en stile antico— o el «fabordón» —la polifonía improvisada—. Sin embargo, las descripciones de los oficios son poco precisas en cuanto al estilo musical de las distintas partes que los componen, por lo que, para identificar los tipos de polifonía empleados en la hora de Vísperas, es necesario recurrir a otra documentación. En este sentido, las fuentes musicales conservadas, junto con algunas noticias extraídas de los acuerdos capitulares, ayudarán a completar la visión general de la práctica musical de las Vísperas en la catedral oriolana durante esos siglos.

2025, Interdisziplinäre Tagung im Rahmen der "Tage Alter Musik", Regensburg

Heinrich Ignaz Franz Biber (1644–1704), für den Großteil seiner Karriere Kapellmeister am erzbischöflichen Hof in Salzburg, war zu Lebzeiten als einer der führenden Violinisten im deutschsprachigen Raum bekannt. Mehrere Drucke mit Instrumentalmusik garantierten die überregionale Bekanntheit des Komponisten und einen Platz im Violinrepertoire des späteren 17. Jahrhunderts. Wie viele andere seiner Zeitgenossen schützte aber auch Biber seine Berühmtheit nicht vor einer weitgehenden Vergessenheit, der er in den folgenden beiden Jahrhunderten als Komponist und Musiker anheimfiel. Erst im 20. Jahrhundert erfuhr sein Status als bedeutende Musikerpersönlichkeit des ausgehenden 17. Jahrhunderts ihre Restaurierung. Allerdings stellte keiner der überlieferten Drucke die Originalität Bibers so eindrucksvoll unter Beweis wie jene eine Handschrift, die uns 15 virtuose Sonaten für Violine und Basso continuo sowie eine abschließende Solo-Passacaglia überliefert hat – ohne Titelblatt, dafür mit eloquenter, lateinischer Widmung und 15 Kupferstich-Emblemen, die den einzelnen Sonaten jeweils voranstehen und sie mit den „heiligen Mysterien“ (so Biber in seiner Widmung) des Rosenkranzes in Verbindung bringen. Neben dieser Verknüpfung mit sakralen Inhalten haben die „Rosenkranz-“ oder „Mysteriensonaten“ vor allem dadurch die Aufmerksamkeit der Forschung auf sich gezogen, dass sie in einzigartig raffinierter und symbolhafter Weise auf die Methode der „Skordatur“ zurückgreifen: die planmäßige Abänderung der traditionellen Violinstimmung (g−d1−a1−e2), mit der nicht nur eine Reihe unkonventioneller Klangwirkungen erschlossen wird, sondern auch Fingerzeige auf die Stationen des Rosenkranzes verbunden sind.
Das vielschichtige Verhältnis, in dem die Schauwerte der Virtuosität, die klangliche Raffiniertheit und das subtile Geflecht außermusikalischer Anspielungen und Bedeutungen einander gegenübertreten, macht einen Zugriff auf die „Rosenkranzsonaten“ aus ver¬schiedenen, einander ergänzenden Blickwinkeln besonders reizvoll. Die vollständige Aufführung der Sonaten durch Meret Lüthi und die Passions de l’Âme in drei Teilkonzerten bietet daher eine glänzende Gelegenheit, sich dem berühmtesten Werk Bibers in einer interdisziplinären Tagung zu widmen und sie aus den Perspektiven der Musikwissenschaft, der Geschichtswissenschaft und der Theologie in den Blick zu nehmen. Die Tagung wird zudem vom Privileg profitieren, die Violinistin Meret Lüthi zu den Vortragenden zählen zu dürfen.
Der Eintritt zur Tagung ist frei, interessierte Zuhörerinnen und Zuhörer sind herzlich willkommen.

2025

En su artículo, «Heroínas en transformación en las Academias de Haendel», analiza la diferencia de estilos vocales entre las sopranos haendelianas Francesca Cuzzoni y Faustina Bordoni, por una parte, como representantes de la Primera Academia londinense y, por otra parte, la llegada de Anna Maria Strada del Pò como prima donna de la Segunda Academia londinense. Anna Maria Strada era capaz de satisfacer todas las expectativas de Haendel: su marcada versatilidad permitió al compositor sajón experimentar a voluntad con sus propias invenciones musicales, así como hacer realidad sus ambiciones concernientes al canto y sus ideales teatrales y artísticos. Judit Zsovár analiza en detalle diversos pasajes de óperas de Haendel en las cuales Strada fue la protagonista. La estrecha colaboración entre la cantante y el compositor pone de manifiesto uno de los momentos más relevantes en la creación artística de la ópera seria del siglo XVIII.

2025, Cuadernos de Estudios del Siglo XVIII

2025

Notas de Programa para a Temporada de Música Gulbenkian (2024-2025), 2025

2025

Notas de Programa para a Temporada de Música Gulbenkian (2024-2025), 2025

2025

Notas de Programa para a Temporada de Música Gulbenkian (2024-2025), 2024

2025

Notas de Programa para a Temporada de Música Gulbenkian (2023-2024), 2023

2025, in "Calibano: l'opera e il mondo, numero sei: Alcina/La magia" (Rome: effequ), pp. 116-125.

La riproduzione di parti del testo e delle immagini presenti in questo numero con qualsiasi mezzo e in qualsiasi forma senza l'autorizzazione scritta dell'editore è vietata COLLEGIO DEI REVISORI DEI CONTI presidente Emma Rosati membri effettivi Pamela Palmi Anna Maria Ustino alcina l'incantesimo del mondo numero sei Il mondo è ancora magico 8 Danzando nella foresta della notte 20 38 58 74 84 D'incanto e d'oblio Qualcosa di umano e sublime Dall'apparenza all'apparire Parole magiche, magiche parole 104 Come una seduzione

2025, in "Tu duca, tu segnore e tu maestro: Studi in onore di Franco Piperno", ed. by Andrea Chegai and Simone Caputo (Rome: Neoclassica), pp. 31-40.

Figura di spicco nella curia romana, protettore degli interessi dei re di Francia e dei duchi di Ferrara, il cardinale Ippolito II d’Este fu costretto dai suoi molteplici incarichi diplomatici a continui spostamenti fra Roma, Ferrara e Fontainebleau; qui edificò residenze principesche e mantenne diversi rami della sua corte, organizzata dunque come uno spazio policentrico e fortemente dinamico. La storia della cappella musicale di Ippolito offre un punto di vista privilegiato sulla peculiare conformazione della corte del cardinale. La cappella era un organismo mobile, fluido, diviso in tanti tronconi paralleli quante erano le sedi dell’attività diplomatica di Ippolito. Ad ogni suo viaggio, l’Este selezionava i cantori che meglio lo avrebbero potuto rappresentare agli occhi dei potenti del luogo; di volta in volta, egli rimodulava l’assetto delle sue varie “cappelle parallele”, assumendo o trasferendo i musici che potessero più facilmente incontrare il gusto dei suoi interlocutori politici. Così facendo, Ippolito si pose quale vero e proprio “mediatore culturale” del suo tempo, facilitando il movimento e lo scambio di interpreti e repertori musicali fra Francia e Italia.
Avvalendomi di alcuni modelli teorici elaborati nell’ambito dei “mobility studies” (Urry 2007; Greenblatt 2010), nel mio contributo discuto la configurazione spaziale e la mobilità interna che caratterizzarono la cappella musicale di Ippolito. Ciò mi permette, in senso più ampio, di apprezzare il dinamismo che contraddistinse le corti di prìncipi e diplomatici rinascimentali che, come Ippolito, viaggiarono continuamente da un luogo all’altro per espletare le loro funzioni di mediatori politici. In altri termini, il mio contributo mira a mettere in discussione l’idea che le corti italiane del Rinascimento fossero organismi fortemente centralizzati e per lo più radicati in una capitale (gli Este a Ferrara; i Gonzaga a Mantova, e via dicendo): la compattezza di tale modello spaziale, che può forse rivelarsi produttivo nel caso delle corti di Duchi e Monarchi (cfr. ad esempio Papagno-Quondam 1982), non restituisce il policentrismo e la fluidità di molte “corti particolari o minori” rette “da altri principi e principesse di sangue, (…) cardinali inclusi” (Guerzoni 2006).

2025, in "Les cardinaux et l’innovation musicale à l’époque moderne, a cura di Jorge Morales" (Paris: Classiques Garnier), pp. 63-76

Figure de premier plan de la curie romaine, protecteur des intérêts
du roi de France et des ducs de Ferrare, Hippolyte II d’Este (1509-1572) fut
contraint, par ses multiples fonctions politiques, à se déplacer
continuellement entre Rome, Ferrare et Fontainebleau. À travers le prisme
des “mobility studies", cette contribution analyse l’impact de son intense
activité diplomatique sur la configuration de sa chapelle musicale et de sa
cour, toutes deux caractérisées par une hybridation culturelle.

2025, in: Residenzschloss Mannheim. Von der Grundsteinlegung zur virtuellen Rekonstruktion

Das Äußere des Treppenhauspavillons des Mannheimer Residenzschlosses ist mit dem kurpfälzischen Staatswappen von Gabriel Grupello (1644–1730) geschmückt. Hier ist der pfälzische Löwe nicht nur im Wappenschild der Pfalzgrafen bei Rhein, sondern auch im Wappen der zum Kurpfälzer Herrschaftsgebiet gehörenden Grafschaft Jülich abgebildet, zudem tragen zwei mächtige vollplastische Löwen das Staatswappen. Hinzu treten plastische Löwendarstellungen von der Hand Paul Egells (1691–
1752) an den Arkaden des Ehrenhofes, die ebenfalls als Hinweis auf den Kurfürsten gedeutet werden können. Zu den zeremoniell bedeutsamsten
Prunkräumen des Schlosses zählen das Treppenhaus, der Rittersaal des Palastes sowie das Kaiserliche Schlafzimmer. Neben den Löwen treten als Verweis auf den Kurfürsten von Riccardo Retti (1687–1741) stuckierte Kriegsmotive sowie Erdteilallegorien und Trophäenhäupter von Egell. Der pfälzische Kurfürst Carl Philipp (1661–1742) ließ sich somit nicht nur als pfälzischer Löwe, sondern wie auch Markgraf Ludwig Wilhelm von Baden (1655–1707) und Kurfürst Max II. Emanuel von Bayern (1662–1726) in
ihren Residenzen in Rastatt und Schleißheim als kaisertreuer Türkenkrieger inszenieren. Auffällig ist im Vergleich zu den dortigen Ausstattungen allerdings die unernst anmutende Formensprache der Stuckbilder, die Egell nach Entwürfen des französischen Ornamentisten Gilles-Marie Oppenord (1672–1742) für die „Galerie d’Enée“ des Pariser Palais Royal schuf.
Das zeigt, dass die Kurpfälzer in der Zeit nach den siegreich beendeten Türkenkriegen bereits einen spielerischen Umgang mit den dargestellten Inhalten pflegten, weswegen der Ikonografie des Kurfürsten als pfälzischer Löwe und Türkenkrieger im Folgenden noch einmal ausführlich
nachgegangen werden soll.

2025

Le proiezioni del Festival del Cinema Ambiente, presentate ad inizio giugno al Cinema Massimo di Torino, permettono di fare utili scoperte, anche nel campo della musicologia. Ciò è accaduto vedendo il film di Simona Canonica Il canto del respiro in cui si indaga sul rapporto esistente tra la musica e l'ambiente naturale, e se dovrebbe essere risaputo, o quanto meno intuito, che uno strumento musicale in legno conserva in sé le vibrazioni sonore che racchiudeva l'albero da cui è nato, più particolari, e di certo meno conosciute, sono le indagini che il film opera in Mongolia ed in Australia. Nei deserti della Mongolia si segue il lavoro di alcuni maestri di khöömii, il canto armonico, una forma espressiva vocale, che i maestri definiscono musica classica a tutti gli effetti, e che risale all'antica epoca in cui il popolo unno risiedeva nelle steppe mongoliche. In questo mondo sonoro l'emissione del suono della voce si rapporta agli elementi della natura, lo stesso dicasi per il suono degli strumenti, creando un dialogo con l'acqua, le grotte, gli sconfinati spazi aperti, lavorando sugli effetti di eco e sul fatto

2025, "A Heraclitian Fold Between Heidegger and Deleuze"

This article recently appeared in a special issue of Deleuze and Guattari Studies (vol. 19, issue 1, 2025-02), but I have uploaded original manuscript as part of the series on Baroque. It addresses the concept of folding-unfolding in the Ionian philosopher Heraclitus around the unity of opposites. I identify this thematic in two well-known works by Martin Heidegger and Gilles Deleuze: Heidegger’s 1943 seminar on Heraclitus and Deleuze’s treatise on the ‘baroque’ philosophy of Leibniz in Le pli: Leibniz et le baroque (1988). In analysing this theme in Deleuze, the article develops a discussion of the concept of harmony in baroque music and the function of vertical and horizontal harmonics in general music theory to demonstrate the dependence of Deleuze’s argument concerning the concept of ‘the fold’ (le pli) on the musical theory of harmony. The article concludes with discussion of the limitations of musical analogy applied to metaphysical principles and some general observations on the relevance of this theory for understanding the debates over continuity and discontinuity in contemporary new materialist philosophies.

2025, « WoVen » seminar Online ('Women, Opera and the Public Stage in Eighteenth-Century Venice')

2025, International Conference, Palàcio Nacional de Queluz, Historically informed performance, Theory and practice of the 18th-century musical and theatrical repertoire

2025, Internationale Wissenschaftliche Konferenz zu den Händel-Festspielen in Halle an der Saale

2025

Scripta musicologica en torno a la figura del Dr. José V. González Valle Tomo II tirant humanidades Valencia, 2021 Copyright ® 2021 Todos los derechos reservados. Ni la totalidad ni parte de este libro puede reproducirse o transmitirse por ningún procedimiento electrónico o mecánico, incluyendo fotocopia, grabación magnética, o cualquier almacenamiento de información y sistema de recuperación sin permiso escrito del autor y del editor. En caso de erratas y actualizaciones, la Editorial Tirant Humanidades publicará la pertinente corrección en la página web www.tirant.com.

2025, I libretti italiani a Vienna tra Sei e Settecento / Italian Libretti in Vienna During the Seventeenth and Eighteenth Centuries, a cura di Adriana De Feo, Alfred Noe e Nicola Usula, Wien, Böhlau, 2025, pp. 131-147

2025, Giovanni Pierluigi da Palestrina e l’arte del tempo: l'intelligenza del dettaglio notazionale. La scrittura mensurale come forma del pensiero musicale

Tra i numerosi aspetti ancora poco indagati nell'opera di Palestrina, la scrittura mensurale in alcune sue opere, rivela una sorprendente densità concettuale. Ben oltre la funzione pratica o convenzionale, la notazione del tempo si rivela in esse come un dispositivo di pensiero, in cui segni, mensurae e tactus non solo regolano il flusso musicale, ma lo modellano in profondità. In questo articolo ho tentato di elaborare, seppur brevemente, un'analisi sintetica, ma mirata, sull'evoluzione della notazione mensurale, cercando di mostrare come Palestrina ne faccia uno strumento espressivo e strutturale, capace di articolare con lucidità il discorso musicale. Una riflessione che, nel rigore formale e nella consapevolezza teorica, vuole contribuire a definire la sua figura non solo come artefice di uno stile, ma come autentico Princeps musicae.

2025

Begonnen hatte der Reigen 1617. Vorbereitet durch vielfältige Formen der Reformations-und Luthermemoria schon im Jahrhundert zuvor 2 , wurde als erstes Reformationsjubiläum quer durch das evangelische Reich und darüber hinaus 3 das erste Zentennar des Thesenanschlags begangen. Damit entstand nicht nur ein neuer Brauch innerhalb des Protestantismus, sondern damit wurde eine neue kulturelle Praxis in die Welt gesetzt, die heutzutage als geradezu naturwüchsig erscheint, es aber keineswegs ist: das im Rhythmus runder Jahreszahlen begangene historische Jubiläum 4 . Erfunden an protestantischen Universitäten, die in den * Auf Wunsch der Autorin wird der Aufsatz nach den Regeln der alten Rechtschreibung gedruckt. 1 ChW 44 (1930) 561. Rade entnahm die Rede vom "doppelt Leben" einem Satz, den er in lateinischer Sprache (Vita posse priore frui bis vivere dico) auf dem Titelblatt von Georg Lösche, Geschichte des Protestantismus im vormaligen und im neuen Österreich (Wien 3 1930) gelesen hatte und als Untertitel über seinen Artikel setzte. 2 Vgl.

2025, Trans Revista Transcultural De Musica

¡Error! No se ha suministrado níngún nombre de propiedad.Los artículos publicados en TRANS--Revista Transcultural de Música están (si no se indica lo contrario) bajo una licencia Reconocimiento--NoComercial--SinObraDerivada 2.5 España de Creative Commons. Puede copiarlos, distribuirlos y comunicarlos públicamente siempre que cite su autor y mencione en un lugar visible que ha sido tomado de TRANS agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No utilice los contenidos de esta revista para fines comerciales y no haga con ellos obra derivada. La licencia completa se puede consultar en All the materials in TRANS--Transcultural Music Review are published under a Creative Commons licence (Attribution--NonCommercial--NoDerivs 2.5) You can copy, distribute, and transmit the work, provided that you mention the author and the source of the material, either

2025, La Nostra Storia - Il Corriere della Sera - 13 June

La bellezza nel destino. La famiglia, l'arte, i Barberini e la storia d'Italia Singolare, e per molti aspetti geniale e innovativa, l'intuizione del celebre storico britannico Simon Sebag Montefiore. Ovvero, quella di scrivere una "world history" del tutto basata sulla storia delle grandi famiglie che hanno "costruito" il mondo, dall'inizio dell'antropizzazione del medesimo. O quantomeno hanno contribuito a tale immane compito, spesso svolto anche da singoli individui, e in generale portato a termine su larga scala dalla "grande famiglia del genere umano" (tutta). "The World. A Family History", uscito nel 2022, ha scalato rapidamente la classifica dei best seller. Per quanto lo storico sia legato ad una famiglia originariamente italiana, i Montefiore, ebrei sefarditi livornesi che ebbero in Sir Moses, oramai stabilitisi a Londra, forse il rappresentante maggiore, nell'età vittoriana-figura centrale nella filantropia e nel mondo ebraico inglese e internazionale-, Simon Sebag sembra ignorare un poco, quasi snobisticamente, le famiglie del suo Paese originario. Ma si potrebbe ben scrivere una storia più modestamente "italiana", e non "mondiale" delle famiglie, nobili o borghesi, che hanno "fatto" l'Italia o comunque contribuito a farla. E che hanno ampiamente contribuito alla storia europea ma anche in alcuni casi a quella mondiale. Da sempre; certo, da ben prima dell'unificazione del 1861: fino ad oggi. Molte se ne possono nominare, soprattutto-ma non solo-nell'industria e nella politica, dagli Agnelli ai Berlusconi, dai La Malfa ai Martino, dai Berlinguer ai Savoia stessi. Certo, centinaia se non migliaia delle grandi famiglie che hanno fatto l'Italia dei comuni, delle signorie, delle repubbliche libere-si pensi solo al patriziato veneziano-sono del tutto estinte, ovvero sono estinte anche nei rami collaterali. I loro nomi sopravvivono in palazzi, archivi, commissioni, nei libri, dunque. Non così per una famiglia tra le maggiori della nostra storia, i Barberini...

2025, Music History: Classical Era (ca. 1750 - 1820)

Title: The Classical Period in Music: ca. 1750–1820 – Context, Style, and Legacy This module offers a comprehensive exploration of the Classical Period in Western music, spanning approximately 1750 to 1820. Designed for advanced... more

2025, Basler Jahrbuch für Historische Musikpraxis

This article provides an example of an aesthetically oriented analysis of a Corelli composition as much as it presents a flexible view of the compositional process in the late seventeenth century informed by contemporary notions of harmony, counterpoint, craftsmanship and artistry. By shifting the emphasis from the analytical agenda of twentieth-century theorists to the grammatical standards set by their late seventeenth-century counterparts, the article makes a case for the richness of Corelli’s musical eloquence over the historiographical tradition that locates the establishment of a ‘Common-Practice’ of musical composition in Italy in the early decades of the eighteenth century.

2025, Bach-Jahrbuch

Von Juliane Riepe (Halle / S.) I. "Dis-moi ce que tu lis, et je te dirai ce que tu es"? Das dem französischen Historiker Pierre de La Gorce zugeschriebene Diktum "Sage mir, was du liest, und ich sage dir, was du bist" gibt, so scheint es, eine elementare Erfahrung wieder: Die Bücher, mit denen sich jemand umgibt, können ein Spiegel dessen sein, womit sich eine Person gedanklich beschäftigt. Ihre Auswahl mag berufliche Schwerpunkte spiegeln, verweist aber vielleicht auch auf die persönlicheren Neigungen und Interessen, auf die Gedankenwelt dessen, der diese Bücher besitzt und -vielleicht -auch liest. Kein Wunder also, das insbesondere die biographische Forschung daran interessiert ist, etwas über die Buchbestände und Lektüregewohnheiten ihrer Untersuchungsobjekte zu erfahren -dies umso mehr, wenn es sich um historische Personen handelt, über deren private Gedankenwelt sich wenig sagen läßt, weil entsprechende Quellen rar sind oder fehlen. Hätten wir ein Verzeichnis des Inhalts von Händels Bücherschrank (seinen Bücherschränken?), dann ließe sich möglicherweise ein klein wenig mehr darüber sagen, worauf dieser, was Privates betrifft, so wenig mitteilungsfreudige Mann seine Ge danken und Interessen richtete, wenn er sich nicht gerade mit Musik beschäftigte. Ein solcher Wunsch blieb jedoch bisher nicht nur, was Händel betrifft, unerfüllt. Von der großen Mehrheit der europäischen Komponisten des 18. Jahrhunderts (und früher) wissen wir nichts über die Bücher, die sie besaßen; bekannt sind weder Verzeichnisse noch mit einem Namenseintrag bezeichnete Exemplare aus ihrem Besitz. 1 Deutlich besser sind wir über die Gemälde-

2025, Giovanni Battista Riccio, Il primo libro delle divine lodi (Venezia, 1612), edited by Chiara Comparin (Giovanni Battista Riccio Opera Omnia, 1)

2025, Studia Theologica 17/2

This paper is focused on piousness and the family representation of the Counts of Sporck on the Heřmanův Městec estate (East Bohemia) in the 1st half of the 18th century. The founder of this noble clan, Johann of Sporck (approximately 1600–1679), was born as a member of a peasant family near Paderborn, Germany and began the social rise of the Sporcks. He was under military duty with the Duke of Bavaria and consequently (as of 1647) served Emperor Ferdinand III. Sporck became a general and a rich and powerful magnate during the Thirty Years’ War war and the consequent struggles. The public fame of this new noble family was harmed, however, by the General’s son Ferdinand Leo-
pold (1664–1711), who murdered his own butler, attacked his wife and other persons, and caused public commotion as well as conflicts with the elder brother Franz Anton (1662–1738). Ferdinand’s sons Johann Joseph (1693–1749) and Johann Rudolf (1695–1759), Bishop (in partibus) of Adriathea and suffragan Bishop of Prague as well, worked at improving the damaged public reputation of the Sporcks through devout acts and care for the spiritual lives of their subjects on the Heřmanův Městec estate. Noble family representation was connected with Baroque piousness in this case and point.

2025

Estudio del contrapunto

2025

Ce document a pour but de vous faire découvrir cette église, son quartier, son histoire, ses représentations, ses symboles, ceux qui y ont contribué et surtout la Foi des catholiques qui s'y rassemblent. Il a été utilisé en partie pour une publication éditée par Histoire et Patrimoine du 17 ème . Son contenu n'engage pas la Paroisse, c'est juste l'oeuvre d'un paroissien.

2025

During religious feasts in the Teotihuacán and Texcoco regions northeast of Mexico City, people 'dance for the saint,' often to fulfill a vow made in a supplication for healing. Based on fieldwork carried out between 2011 and 2019, and online interviews and monitoring of Facebook postings in late 2020 and early 2021, in this article we explore the impact of the coronavirus on the devotional dances staged in the context of religious feasts. In particular, we examine the cases of new practices adopted during the lockdown. Drawing on Jeremy Stolow's (2005) concept of "religions as media," we show how a combination of digital and in-person media make it possible for local Catholic communities to maintain the relationship with their patron-saint during the pandemic, based on the principle of do ut des, "though differently." We conclude by raising questions concerning the future of the devotional dances and religious feasts in these regions as pandemic restrictions entered their second year.

2025, Ars Longa

A diferencia de lo que sucede en otras regiones de España, la huella de Andrea Pozzo y su Perspectivae Pictorum et Architectorum en Cataluña apenas ha sido apuntada por la historiografía. Sin embargo, el retablo
catalán del siglo XVIII muestra una deuda generalizada con la gramática arquitectónica del jesuita. Partiendo de un estado de la cuestión sobre Pozzo en Cataluña, en el presente artículo mostramos la exitosa difusión del
lenguaje arquitectónico del jesuita en los retablos de algunos escultores locales. Se hace especial hincapié en la obra del académico Pere Costa, conocedor, introductor y consolidador de las ideas de Pozzo en la retablística, pero también en las propuestas de Carles Morató i Brugaroles y Lluís Bonifàs i Massó, quienes, junto a otros escultores de su generación, perpetuaron la praxis del jesuita hasta las primeras décadas del siglo XIX.

2025, Music History: Baroque Era

This module provides a comprehensive exploration of music from the Baroque Era (ca. 1600–1750), covering both sacred and secular genres in vocal and instrumental forms. Designed for advanced music students, educators, and researchers, the study systematically traces the stylistic developments, compositional techniques, and performance practices that defined Baroque music across Europe.
The sacred music section examines the Lutheran cantata, Passion, chorale-based forms, and instrumental liturgical genres such as the chorale prelude, fugue, ricercare, toccata, sonata da chiesa, and variation canzona. It also includes an in-depth study of vocal sacred forms like the cantus firmus mass and oratorio, particularly focusing on Handel's Messiah.
The secular portion is organized into vocal chamber music, theatrical vocal genres, instrumental chamber music, and instrumental theatrical music. It includes discussions of secular cantatas, madrigal cycles, bel canto arias, French air de cour, and Italian serenata. Operatic development is covered in detail, tracing its roots from the Renaissance pastoral and Florentine Camerata through Monteverdi’s innovations to the national styles in Venice, Naples, France, Germany, and England.
Instrumental genres such as the sonata da camera, dance suite, trio sonata, solo sonata, concerto grosso, orchestral suite, and ripieno concerto are analyzed, including listening guides, diagrams, and stylistic comparisons. The module closes with a socio-historical overview of musical life in cities such as Venice and Paris, the influence of sacred calendar festivals, and the emergence of an international musical taste.
The final section profiles the most prominent Baroque composers—Antonio Vivaldi, Jean-Philippe Rameau, Johann Sebastian Bach, and George Frideric Handel—highlighting their biographies, stylistic traits, innovations, and lasting influence on music history.
Rich in analytical, historical, and pedagogical content, the module aims to provide a well-rounded understanding of the Baroque musical landscape and its enduring legacy in Western art music.

2025, Early Music Performer

‘As argued by Alberto Sanna in this EMP, common conceptions of how to approach the performance of a core seventeenth-century repertoire, namely the instrumental music of Arcangelo Corelli (1653–1713), deserves closer scrutiny. He points out a continued tendency to apply conventions associated with eighteenth-century performance practice, which acts as a kind of one-size-fits-all “Baroque” performance style. The nomenclature on the title page of Corelli’s Op. 5 Sonate a violino e violone o cimbalo has been noted and discussed before (for instance by David Watkin in “Corelli’s op. 5 sonatas: ‘violino e violone o cimbalo’?”, Early Music, 24/3 (1996), 645–63). Sanna takes the matter a step further by drawing attention to the way Corelli’s collection belongs to the repertoire of seventeenth-century Italian duos, in which parts for instruments whose function was to provide harmonic support (harpsichord, theorbo), were usually provided separate from the string bass. However, there remains a reluctance to take on board the conclusion that Corelli intended this music for violin and violoncello duo, or for violin and harpsichord as a second option (the term violone was used to indicate an 8-foot string bass instrument tuned to C-G-d-a). Provocatively, we could attribute this to the way the discipline is structured, since professional lives continue to thrive on specialism in “Baroque” music, and all that entails from the point of view of marketing, and how music is taught in universities.’ (Andrew Woolley, 2014.)

2025, C. F. Hornstedt, Brev från Batavia — En resa till Ostindien 1782-1786. Utgivare Christina Granroth under medverkan av Patricia Berg och Maren Jonasson

This study examines a series of medical sketches found among the manuscript materials of Clas Fredrik Hornstedt. These sketches can be traced back to Shinkyû gokuhi shô, a work authored by Kimura Taichû, a disciple of the Japanese court... more

2025, American Handel Society Conference