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xxi + 181 pp.
Dinko Fabris draws on newly discovered archival documents to reconstruct the career of Francesco Provenzale (1624-1704) who became the leader of his musical world, despite his relatively small musical output. The book examines Provenzale's surviving works alongside those of his most important Neapolitan contemporaries. Fabris provides both a life and works study of Provenzale and a conspectus of Neapolitan musical life of the seventeenth century.
This book deals with various aspects of musical life at the Aragonese court of Naples, from its establishment in 1442 to its demise in the opening years of the sixteenth century. An opening chapter gives a general historical-cultural background of the court. The author then discusses the royal chapel and its most important members, as well as other important musicians who were in Naples but who had no known ties with the court in an official sense. He goes on to describe the various types of secular music at the court and the music manuscripts compiled in and around Naples. The importance of the book lies in its attempt to synthesize all that is known about music at Naples - both from discovered archival sources and from the scholarly literature of specialized studies. The second part of the book contains a collection of 18 pieces, edited from Neapolitan manuscripts, which illustrate the earlier chapter on the repertory.
Drawing on extensive archival work, this book examines the crucial contribution of Neapolitan string virtuosi to the dissemination of instrumental music and to the development of string practices and musical culture in Europe. It presents a fresh look at the central place of instrumental music in early modern Naples and considers aspects of music pedagogy, performance practices, patronage, and musicians' social mobility. Music examples, paintings, and lists of personnel of major music institutions inform the discussion and illustrate the opportunities for social mobility afforded by the music profession. Music production and consumption are considered within their cultural, political, and economic contexts and in connection with the rapid political changes of eighteenth-century Naples. This substantial contribution to the understanding of a previously under-studied repertory places the cultivation of Neapolitan instrumental music at the centre of aesthetic and cultural developments across eighteenth-century Europe.
Early modern Naples has been characterized as a marginal, wild and exotic place on the fringes of the European world, and as such an appropriate target of attempts, by Catholic missionaries and others, to ’civilize’ the city. Historiographically bypassed in favour of Venice, Florence and Rome, Naples is frequently seen as emblematic of the cultural and political decline in the Italian peninsula and as epitomizing the problems of southern Italy. Yet, as this volume makes plain, such views blind us to some of its most extraordinary qualities, and limit our understanding, not only of one of the world's great capital cities, but also of the wider social, cultural and political dynamics of early modern Europe. As the centre of Spanish colonial power within Europe during the vicerealty, and with a population second only to Paris in early modern Europe, Naples is a city that deserves serious study. Further, as a Habsburg dominion, it offers vital points of comparison with non-European sites which were subject to European colonialism. While European colonization outside Europe has received intense scholarly attention, its cultural impact and representation within Europe remain under-explored. Too much has been taken for granted. Too few questions have been posed. In the sphere of the visual arts, investigation reveals that Neapolitan urbanism, architecture, painting and sculpture were of the highest quality during this period, while differing significantly from those of other Italian cities. For long ignored or treated as the subaltern sister of Rome, this urban treasure house is only now receiving the attention from scholars that it has so long deserved. This volume addresses the central paradoxes operating in early modern Italian scholarship. It seeks to illuminate both the historiographical pressures that have marginalized Naples and to showcase important new developments in Neapolitan cultural history and art history. Those developments showcased here include bot
This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor‘s introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.
Through forty-five creative and concise essays by an international team of authors, this Cambridge History brings the fifteenth century to life for both specialists and general readers. Combining the best qualities of survey texts and scholarly literature, the book offers authoritative overviews of central composers, genres, and musical institutions as well as new and provocative reassessments of the work concept, the boundaries between improvisation and composition, the practice of listening, humanism, musical borrowing, and other topics. Multidisciplinary studies of music and architecture, feasting, poetry, politics, liturgy, and religious devotion rub shoulders with studies of compositional techniques, musical notation, music manuscripts, and reception history. Generously illustrated with figures and examples, this volume paints a vibrant picture of musical life in a period characterized by extraordinary innovation and artistic achievement.
The first book-length study in any language dedicated specifically to lute, guitar, and vihuela.
The name "mandolin" was used to refer to two quite different instruments: the gut-stringed mandolino, played with the fingers, and the later metal-stringed Neapolitan mandoline, which was played with a plectrum. This is the first book devoted exclusively to these two early instruments about which information in reference books is scant and often erroneous. The authors uncover their rich and varied musical history, examining contemporary playing techniques and revealing the full extent of the instruments' individual repertories, which include works by Vivaldi, Sammartini, Stamitz, and Beethoven. The book's ultimate aim is to help today's players to produce artistically satisfying performances through an understanding of the nature and historical playing style of these unjustly neglected instruments.