Music in golden-age Florence, 1250-1750: from the priorate of the guilds to the end of the Medici grand duchy
"Florence is justly celebrated as one of the world's most important cities. It enjoys mythic status and occupies an enviable place in the historical imagination. But its music-historical importance is less well understood than it should be. If Florence was the city of Dante, Michelangelo,...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Chicago ; London
The University of Chicago Press
2023
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Florence is justly celebrated as one of the world's most important cities. It enjoys mythic status and occupies an enviable place in the historical imagination. But its music-historical importance is less well understood than it should be. If Florence was the city of Dante, Michelangelo, and Galileo, it was also the birthplace of the madrigal, opera, and the piano. This is the only book of its kind, a comprehensive account of music in Florence from the late Middle Ages until the end of the Medici dynasty in the mid-eighteenth century. It recounts the principal developments in the history of Florence's contributions to music and how music was heard and cultivated in the city, from civic and religious institutions to private patronage and the academies. Scholars from sister disciplines and a general readership interested in the history and culture of Florence will find this book an invaluable complement to studies of the art, literature, and political thought of the late-medieval and early-modern eras and the quasi-legendary figures in the Florentine cultural pantheon"-- |
| Beschreibung: | xviii, 485 Seiten, 8 ungezählte Seiten Tafeln Illustrationen, Notenbeispiele, Porträts (teilweise farbig) 24 cm |
| ISBN: | 9780226822785 |
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| 520 | 3 | |a "Florence is justly celebrated as one of the world's most important cities. It enjoys mythic status and occupies an enviable place in the historical imagination. But its music-historical importance is less well understood than it should be. If Florence was the city of Dante, Michelangelo, and Galileo, it was also the birthplace of the madrigal, opera, and the piano. This is the only book of its kind, a comprehensive account of music in Florence from the late Middle Ages until the end of the Medici dynasty in the mid-eighteenth century. It recounts the principal developments in the history of Florence's contributions to music and how music was heard and cultivated in the city, from civic and religious institutions to private patronage and the academies. Scholars from sister disciplines and a general readership interested in the history and culture of Florence will find this book an invaluable complement to studies of the art, literature, and political thought of the late-medieval and early-modern eras and the quasi-legendary figures in the Florentine cultural pantheon"-- | |
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Datensatz im Suchindex
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Contents Preface xiii BOOK THE FIRST Music in Late-Medieval Florence: The Duecento and Trecento Music and the Ecclesiastical and Political Organization of the Late-Medieval City THE DUECENTO i * Church and State in Florence circa 1300 5 — Santa Reparata/Santa Maria del Fiore 6 — Palazzo della Signoria 7 — Music at Santa Reparata/Santa Maria del Fiore 10 — The Duecento Lauda 15 — Instrumentalists of the Signoria 21 THE TRECENTO 2 * Secular Polyphony: The Beginnings of the Florentine Tradition 25 ~ The Social Context ofPerformance 26 ~ Johannes de Florentia (fl. ca. 1351) 28
З * Secular Polyphony: Francesco Landino and the Central Florentine Tradition 37 — Ser Gherardellus de Florentia (f1362 or 13 63) 3 7 Donatus de Florentia and Laurentius Masti de Florentia (f1372) 4і ~ Francesco Landino (f1397) 4$ 4 * Secular Polyphony: Ihe Gallicization of Florentine Musical Culture 57 — Some Florentine Kleinmeistern: Magisterfrater Egidius, Magister Guglielmusfrater, and Corradus ¡8 — Andreas de Florentia (Andrea di Giovanni) (f1413) 39 — Some Florentine Kleinmeistern Redux: Bonaiutus Corsini and Andrea Stefani 60 — Paulus de Florentia (f1436) 62 5 * Music in Communal Worship and Civic Life 64 — Liturgical Polyphony 63 — The Trecento Lauda 66 ~ The Herald of the Signoria 68 BOOK THE SECOND Music in Renaissance Florence I: The Quattrocento Aristocracy Emulated: The De Facto Medici Regime 6 * The Medici Regime and the Public Ecclesiastical Institutions 73 — Nicolaus Zacharie and the Professionalization of Composing and Performing 75 — The Consecration of the Cathedral of Florence 79 — The Musical Establishments Stabilized 86 — Heinrich Isaac 92 7 * Tradition and Innovation in Sacred Music 96 — Tradition: Musicfor the Liturgy 96 — Tradition and Innovation: The Quattrocento Lauda. 99 — Innovation: The Sacra Rappresentatione 101
8 * Heralds, Knights, and Carnival Revelers 108 — Tellers of Tales 108 — Medieval Chivalric Tradition Reimagined 112 — Florentine Carnival and the Canto Carnascialesco 114 9 * Music and Domestic Life: The House of Medici 122 — Occasions for Music-Making 122 — The Patrons, Their Musicians, and Their Music 123 — The Musical Sources 126 — Varieties ofMusic-Making 127 10 * Girolamo Savonarola and the Medici in Exile 136 — Theocratic Censure 136 — The Medici in Exile, 1494-1312 140 BOOK THE THIRD Music in Renaissance Florence II: The Cinquecento Aristocracy Achieved: The De Jure Medici Regime, Family as Country, and “Florentinism” 11 * The Medici Restoration: The Florentine-Papal Tandem 145 — The Restoration 145 — Composers in Medici Service 149 — Music in Private Medici Settings: Instrumental Music 133 12 * A New Institution, a New Technology, a New Genre: Ihe Madrigal 154 — Wellsprings of the Madrigal: The Chanson 133 — Wellsprings of the Madrigal: The Canto Carnascialesco and Trionfo, the Lauda, and Solo Song 136 — The Earliest Madrigals 156 — Florentine Academies and Madrigals for the Theater atMidcentury 166 — Intimate Settings: Isabella de’Medici, Solo Song, and the Polyphonic Madrigal 170 — IntimateSettings: The Florentine Madrigal after Midcentury 173
із * The Church 183 — The Reconstitution of the Polyphonic Chapels 183 — The Reformation and Counter-Reformation 190 — The Cinquecento Lauda and Sacra Rappresentatione 190 — Intermedi Sacri e Morali and Music in Religious Communities for Women 193 14 * Medici Pageantry, 1539-1589: “L’état, c’est moi” 198 BOOK THE FOURTH Music in Florence in the Baroque Era Cross-Genre Influences: Monody, the Stile Recitativo, and the Stile Concertato in Florentine Music of the Seicento and Early Settecento 15 * Opera in Florence, Act 1: The Florentine Aristocratic Phase 225 ~ Academic Theories Applied 227 — The Beginnings of Opera 246 ~ Widening Applications of the Innovations 253 — The Meaning ofBaroque 261 16 * Intermedio I: Music in Religious and Dynastic Ritual 263 — Religious Ritual: A Cappella and Concerted Vocal Music 263 ~ Religious Ritual: Musicfor Organ 269 — Dynastic Ritual ("L'état, c'est moi"): The Equestrian Ballet 272 17 * Opera in Florence, Act 2: The Pan-Italian Phase 275 — A New Institution: The Opera House 276 ~ Beginnings of the Pan-Italian Phase: La finta pazza 286 — A Native Attempt at a Venetian-Style Opera: Celio 287 — Venetian Imports: Ipermestra 289 — A Distinctively Florentine Tradition of Comic Opera: Il potestà di Colognole 291 — Venetian Imports: Ipermestra, Redux 293 ~ The Baroque Aesthetic on Full Display: Ercole in Tebe, L’Orontea, La Dori 295
18 * Intermedio II: Devotional and Convivial Uses of Music 304 — Devotional: The Lauda Reimagined: Canzonette Spirituali 304 — Devotional: lhe Oratorio 30$ — Convivial: Ballet Entertainments 311 — Convivial: The Seicento Madrigal 316 — Convivial: The Seicento Cantata 317 ~ Convivial: Instrumental Genres 319 — Convivial: The Invention of the Piano 325 19 * Opera in Florence, Act 3: The Pan-European Phase 330 — Opera in Arcadia? The Halting Adoption of Reform Principles—Griselda 330 — Grand Prince Ferdinando and a Restitution ofAristocratic Opera 332 — The Reopening of Teatro della Pergola 337 — Vincer se stesso è la maggior vittoria, or Rodrigo 339 — Opera in Arcadia: The Fuller Adoption of Reform Principles—Catone in Utica 340 — The Settecento Cantata 340 Conclusion 345 Acknowledgments 351 Notes 355 Bibliography 433 Index 467 Color illustrations follow page 222. |
| adam_txt |
Contents Preface xiii BOOK THE FIRST Music in Late-Medieval Florence: The Duecento and Trecento Music and the Ecclesiastical and Political Organization of the Late-Medieval City THE DUECENTO i * Church and State in Florence circa 1300 5 — Santa Reparata/Santa Maria del Fiore 6 — Palazzo della Signoria 7 — Music at Santa Reparata/Santa Maria del Fiore 10 — The Duecento Lauda 15 — Instrumentalists of the Signoria 21 THE TRECENTO 2 * Secular Polyphony: The Beginnings of the Florentine Tradition 25 ~ The Social Context ofPerformance 26 ~ Johannes de Florentia (fl. ca. 1351) 28
З * Secular Polyphony: Francesco Landino and the Central Florentine Tradition 37 — Ser Gherardellus de Florentia (f1362 or 13 63) 3 7 Donatus de Florentia and Laurentius Masti de Florentia (f1372) 4і ~ Francesco Landino (f1397) 4$ 4 * Secular Polyphony: Ihe Gallicization of Florentine Musical Culture 57 — Some Florentine Kleinmeistern: Magisterfrater Egidius, Magister Guglielmusfrater, and Corradus ¡8 — Andreas de Florentia (Andrea di Giovanni) (f1413) 39 — Some Florentine Kleinmeistern Redux: Bonaiutus Corsini and Andrea Stefani 60 — Paulus de Florentia (f1436) 62 5 * Music in Communal Worship and Civic Life 64 — Liturgical Polyphony 63 — The Trecento Lauda 66 ~ The Herald of the Signoria 68 BOOK THE SECOND Music in Renaissance Florence I: The Quattrocento Aristocracy Emulated: The De Facto Medici Regime 6 * The Medici Regime and the Public Ecclesiastical Institutions 73 — Nicolaus Zacharie and the Professionalization of Composing and Performing 75 — The Consecration of the Cathedral of Florence 79 — The Musical Establishments Stabilized 86 — Heinrich Isaac 92 7 * Tradition and Innovation in Sacred Music 96 — Tradition: Musicfor the Liturgy 96 — Tradition and Innovation: The Quattrocento Lauda. 99 — Innovation: The Sacra Rappresentatione 101
8 * Heralds, Knights, and Carnival Revelers 108 — Tellers of Tales 108 — Medieval Chivalric Tradition Reimagined 112 — Florentine Carnival and the Canto Carnascialesco 114 9 * Music and Domestic Life: The House of Medici 122 — Occasions for Music-Making 122 — The Patrons, Their Musicians, and Their Music 123 — The Musical Sources 126 — Varieties ofMusic-Making 127 10 * Girolamo Savonarola and the Medici in Exile 136 — Theocratic Censure 136 — The Medici in Exile, 1494-1312 140 BOOK THE THIRD Music in Renaissance Florence II: The Cinquecento Aristocracy Achieved: The De Jure Medici Regime, Family as Country, and “Florentinism” 11 * The Medici Restoration: The Florentine-Papal Tandem 145 — The Restoration 145 — Composers in Medici Service 149 — Music in Private Medici Settings: Instrumental Music 133 12 * A New Institution, a New Technology, a New Genre: Ihe Madrigal 154 — Wellsprings of the Madrigal: The Chanson 133 — Wellsprings of the Madrigal: The Canto Carnascialesco and Trionfo, the Lauda, and Solo Song 136 — The Earliest Madrigals 156 — Florentine Academies and Madrigals for the Theater atMidcentury 166 — Intimate Settings: Isabella de’Medici, Solo Song, and the Polyphonic Madrigal 170 — IntimateSettings: The Florentine Madrigal after Midcentury 173
із * The Church 183 — The Reconstitution of the Polyphonic Chapels 183 — The Reformation and Counter-Reformation 190 — The Cinquecento Lauda and Sacra Rappresentatione 190 — Intermedi Sacri e Morali and Music in Religious Communities for Women 193 14 * Medici Pageantry, 1539-1589: “L’état, c’est moi” 198 BOOK THE FOURTH Music in Florence in the Baroque Era Cross-Genre Influences: Monody, the Stile Recitativo, and the Stile Concertato in Florentine Music of the Seicento and Early Settecento 15 * Opera in Florence, Act 1: The Florentine Aristocratic Phase 225 ~ Academic Theories Applied 227 — The Beginnings of Opera 246 ~ Widening Applications of the Innovations 253 — The Meaning ofBaroque 261 16 * Intermedio I: Music in Religious and Dynastic Ritual 263 — Religious Ritual: A Cappella and Concerted Vocal Music 263 ~ Religious Ritual: Musicfor Organ 269 — Dynastic Ritual ("L'état, c'est moi"): The Equestrian Ballet 272 17 * Opera in Florence, Act 2: The Pan-Italian Phase 275 — A New Institution: The Opera House 276 ~ Beginnings of the Pan-Italian Phase: La finta pazza 286 — A Native Attempt at a Venetian-Style Opera: Celio 287 — Venetian Imports: Ipermestra 289 — A Distinctively Florentine Tradition of Comic Opera: Il potestà di Colognole 291 — Venetian Imports: Ipermestra, Redux 293 ~ The Baroque Aesthetic on Full Display: Ercole in Tebe, L’Orontea, La Dori 295
18 * Intermedio II: Devotional and Convivial Uses of Music 304 — Devotional: The Lauda Reimagined: Canzonette Spirituali 304 — Devotional: lhe Oratorio 30$ — Convivial: Ballet Entertainments 311 — Convivial: The Seicento Madrigal 316 — Convivial: The Seicento Cantata 317 ~ Convivial: Instrumental Genres 319 — Convivial: The Invention of the Piano 325 19 * Opera in Florence, Act 3: The Pan-European Phase 330 — Opera in Arcadia? The Halting Adoption of Reform Principles—Griselda 330 — Grand Prince Ferdinando and a Restitution ofAristocratic Opera 332 — The Reopening of Teatro della Pergola 337 — Vincer se stesso è la maggior vittoria, or Rodrigo 339 — Opera in Arcadia: The Fuller Adoption of Reform Principles—Catone in Utica 340 — The Settecento Cantata 340 Conclusion 345 Acknowledgments 351 Notes 355 Bibliography 433 Index 467 Color illustrations follow page 222. |
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| owner | DE-703 DE-12 DE-Y3 DE-19 DE-BY-UBM DE-Y2 DE-824 DE-11 |
| owner_facet | DE-703 DE-12 DE-Y3 DE-19 DE-BY-UBM DE-Y2 DE-824 DE-11 |
| physical | xviii, 485 Seiten, 8 ungezählte Seiten Tafeln Illustrationen, Notenbeispiele, Porträts (teilweise farbig) 24 cm |
| psigel | BSB_NED_20230907 |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | The University of Chicago Press |
| record_format | marc |
| spelling | Cummings, Anthony M. 1951- Verfasser (DE-588)1036384578 aut Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy Anthony M. Cummings Chicago ; London The University of Chicago Press 2023 xviii, 485 Seiten, 8 ungezählte Seiten Tafeln Illustrationen, Notenbeispiele, Porträts (teilweise farbig) 24 cm txt rdacontent n rdamedia nc rdacarrier "Florence is justly celebrated as one of the world's most important cities. It enjoys mythic status and occupies an enviable place in the historical imagination. But its music-historical importance is less well understood than it should be. If Florence was the city of Dante, Michelangelo, and Galileo, it was also the birthplace of the madrigal, opera, and the piano. This is the only book of its kind, a comprehensive account of music in Florence from the late Middle Ages until the end of the Medici dynasty in the mid-eighteenth century. It recounts the principal developments in the history of Florence's contributions to music and how music was heard and cultivated in the city, from civic and religious institutions to private patronage and the academies. Scholars from sister disciplines and a general readership interested in the history and culture of Florence will find this book an invaluable complement to studies of the art, literature, and political thought of the late-medieval and early-modern eras and the quasi-legendary figures in the Florentine cultural pantheon"-- Geschichte 1250-1750 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Florenz (DE-588)4017581-9 gnd rswk-swf Music / Italy / Florence / History and criticism Music and state / Italy / Florence / History Florence (Italy) / History / To 1421 Florence (Italy) / History / 1421-1737 MUSIC / History & Criticism Music Music and state Italy / Florence To 1737 Criticism, interpretation, etc History Florenz (DE-588)4017581-9 g Musikleben (DE-588)4075128-4 s Geschichte 1250-1750 z DE-604 Erscheint auch als Online-Ausgabe 978-0-226-82279-2 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034243368&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Cummings, Anthony M. 1951- Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy Musikleben (DE-588)4075128-4 gnd |
| subject_GND | (DE-588)4075128-4 (DE-588)4017581-9 |
| title | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy |
| title_auth | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy |
| title_exact_search | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy |
| title_exact_search_txtP | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy |
| title_full | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy Anthony M. Cummings |
| title_fullStr | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy Anthony M. Cummings |
| title_full_unstemmed | Music in golden-age Florence, 1250-1750 from the priorate of the guilds to the end of the Medici grand duchy Anthony M. Cummings |
| title_short | Music in golden-age Florence, 1250-1750 |
| title_sort | music in golden age florence 1250 1750 from the priorate of the guilds to the end of the medici grand duchy |
| title_sub | from the priorate of the guilds to the end of the Medici grand duchy |
| topic | Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Musikleben Florenz |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034243368&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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