Rövid leírás:
This interdisciplinary book investigates spaces for music-making in Early Modern France and Italy. Spaces specifically designed for music began to appear in private dwellings. While elite music-making became more specialised through the employment of paid musicians, music printing allowed new compositions to be diffused down the social scale.
Több
Hosszú leírás:
This interdisciplinary book investigates the use of secular space for music making in Early Modern France and Italy. The fact that many artists of the time also had musical skills underlines the close relationship between music and the visual arts. This era is remarkable for the growing importance of music in domestic life, ranging from elaborate court festivities to family recreation. In parallel with the emergence of the theatre as a separate building type, music-making in elite circles became more specialised through the employment of paid musicians, as opposed to amateur participation by the inhabitants and their guests. Meanwhile, however, music printing and the mass-production of instruments, especially lutes, allowed music-making to diffuse down the social scale.
We see how spaces specifically designed for music began to appear in private dwellings, while existing rooms became adapted for the purpose. At first, the number of rooms specifically identifiable as ‘music rooms’ was very small, but gradually over the following 150 years, specialised music rooms began to appear in larger residences in both France and Italy. A major theme is the relationship between the size and purpose of the room and the kinds of music performed – depending on the size, portability and loudness of different instruments; the types of music suited to spaces of different dimensions; the role of music in dancing and banqueting; and the positions of players and listeners. Musical instruments were often elaborately decorated to become works of art in their own right.
This is an excellent and much-needed book.
Több
Tartalomjegyzék:
Introduction: Music-making in Residenctiontial Space
1. The Visual Dimension
Seduction and Spirituality: The Ambiguous Roles of Music in Venetian Art
When is a Room a Music Room? Sounds, Spaces, and Objects in Non-courtly Italian Interiors
The Place of Music in the Artist’s Home
2. The Spatial Dimension
Music in the French Domestic Interior (1500-1600)
The Role of Music in the Venetian Home in the Cinquecento
Women on the Edge: The ‘Saletta delle Dame’ of the Palazzo Salvadego in Brescia
3. The Aural Dimension
Balance on the Lute: The Role of the Strings
The Lute: An Intrument for All Seasons
Assessing the Acoustic Performance of Small Music Rooms: A Short Introduction
4. The Intellectual Dimension
‘With tempered notes, in the green hills and among rivers’: Music, Learning, and the Symbolic Space of Recreation in the Manuscript Modena, Biblioteca Estense, Universitaria A.F.9.9
Spaces for Music in Sixteenth-Century Paduan Noble Courts
Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Courts
5. Courtly Contexts
Spaces for Musical Performance in the Este Court in Ferrara (c 1440-1540)
Music Rooms in the Ducal Palace in Mantua: From Andrea Mantegna to Giovan Battista Bertani
Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century
6. The Development of Purpose-Built Spaces for Music
The Acoustic Analysis of Palladio’s Teatro Olimpico, Vicenza
Music at Home: Spaces for Music in French Seventeenth-Century Residential Architecture
Spaces for Musical Performance in Seventeenth-Century Roman Residences
