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The Heroic in Music
Reconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first century The first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filte...
Art of Suppression
One thinks of the arts in Nazi Germany as struggling in an oppressive system, yet evidence has repeatedly shown that conditions were far more favourable than we assume. Potter conducts a historiography of Nazi arts, examining writings from the last seven decades to demonstrate how historical, moral, and intellectual conditions have sustained a distorted characterization of cultural life in the Third Reich. Showing how past research has revealed the decentralized nature of Nazi arts policies, Potter argues that the insulation of academic disciplines allowed outdated presumptions about Nazi micromanagement of the arts to persist.
The Castrato
The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato’s comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy—involving teachers, patrons, colleagues, and relatives—whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers—from Cavalli and Pergolesi to Handel, Mozart, and Rossini—were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.
A Companion to Medieval and Early Modern Confraternities
After the State and the Church, the most well organized membership system of medieval and early modern Europe was the confraternity. In cities, towns, and villages it would have been difficult for someone not to be a member of a confraternity, the recipient of its charity, or aware of its presence in the community. In A Companion to Medieval and Early Modern Confraternities, Konrad Eisenbichler brings together an international group of scholars to examine confraternities from various perspectives: their origins and development, their devotional practices, their charitable activities, and their contributions to literature, music, and art. The result is a picture of confraternities as important venues for the acquisition of spiritual riches, material wealth, and social capital. Contributors to this volume: Alyssa Abraham, Davide Adamoli, Christopher F. Black, Dominika Burdzy, David D’Andrea, Konrad Eisenbichler, Anna Esposito, Federica Francesconi, Marina Gazzini, Jonathan Glixon, Colm Lennon, William R. Levin, Murdo J. MacLeod, Nerida Newbigin, Dylan Reid, Gervase Rosser, Nicholas Terpstra, Paul Trio, Anne-Laure Van Bruaene, Beata Wojciechowska, and Danilo Zardin.
The Cambridge Companion to Opera Studies
The first comprehensive attempt to map the current field of opera studies by leading scholars in the discipline.
The Dissemination of Music in Seventeenth-century Europe
In this volume fifteen musicologists from five countries present new findings and observations concerning the production, distribution and use of music manuscripts and prints in seventeenth-century Europe. A special emphasis is laid on the Düben Collection, one of the largest music collections of seventeenth-century Europe, preserved at the Uppsala University Library. The papers in this volume were initially presented at an international conference at Uppsala University in September 2006, held on the occasion of the launching of The Düben Collection Database Catalogue on the Internet. For the first time, the entire collection had been made acessible worldwide, covering a vast number of musical and philological aspects of all items in the collection.
A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries
A Companion to Music at the Habsburgs Courts in the Sixteenth and Seventeenth Centuries, edited by Andrew H. Weaver, is the first in-depth survey of the Habsburg family’s musical patronage over a broad span of time.
New Perspectives on Handel's Music
An international collaboration between leading scholars showcases a broad spectrum of observations on Handel and his music, covering many aspects of modern interdisciplinary and traditional philological musicology.
Transitions in Mid-Baroque Music
Featuring 102 music examples, this edited collection features contributions by leading scholars from the UK, United States, Australasia and Europe on what characterized the period. This collection focusses on the stylistic and cultural interchange that characterizes the musical period of the mid-Baroque (c.1650-1710). The idea of musical transition during this period is evident in two principal ways: geographical and chronological (the two often overlap). Chapters examine geographical transition by tracing the exchange of regional and national styles, while considering chronological evolution from the perspective of music theory, performance practice, source studies or specific repertoires. Studies range across instrumental and vocal music, both sacred and secular, and encompass some of the main European traditions prevalent at the time: Italian, German, French and English. The collection features contributions by leading scholars from the UK, the United States, Australasia and Europe. CARRIE CHURNSIDE is Associate Professor in Music at the Royal Birmingham Conservatoire (part of Birmingham City University).
Ceremonial Entries in Early Modern Europe
The fourteen essays that comprise this volume concentrate on festival iconography, the visual and written languages, including ephemeral and permanent structures, costume, dramatic performance, inscriptions and published festival books that ’voiced’ the social, political and cultural messages incorporated in processional entries in the countries of early modern Europe. The volume also includes a transcript of the newly-discovered Register of Lionardo di Zanobi Bartholini, a Florentine merchant, which sets out in detail the expenses for each worker for the possesso (or Entry) of Pope Leo X to Rome in April 1513.
