{"title":"Music markets in Georgian Britain","authors":"Nicholas McGegan","doi":"10.1093/em/caad007","DOIUrl":"https://doi.org/10.1093/em/caad007","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42882445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The vague mythological context of Jacopo Tintoretto’s Women making music (after 1566, Dresden Gemäldegalerie Alte Meister) has puzzled scholars, resulting in little consensus regarding the allegorical meaning of the work. H. Colin Slim, for example, emphasized the orderly disposition of bodies in the painting, suggesting a musical-cosmological reading of the work. Liana de Girolami Cheney, on the other hand, includes the sensual in her reading, suggesting that the painting represents the dual natures of Venus. In this article, I build on Cheney’s dual reading of the work but focus differently on the partbooks and performance, exploring how the painting blurs lines between painting as performance, and music-making as visual experience, resulting in a painted performable image. I first demonstrate how the music in the depicted partbooks encodes two divergent ways of experiencing the painting: one characterized by learned and clever allusions in the case of Andrea Gabrieli’s madrigal Quando lieta, and the other through pleasure and the erotic in the case of the anonymous canzona napolitana Dolc’amorose. By using the partbooks as interpretative clues, I argue that the painting contributes to the Renaissance paragone between painting and music, in particular a shift away from early 16th-century associations between painting, music and reason towards a celebration of the manual, sensory and embodied acts of painting. This interpretation of the painting requires the viewer to identify the songs through a combined strategy of seeing and singing, with the painting sounding differently depending on which music the viewer performs: the intricate and elevated madrigal or the sensually pleasing canzona. Seen thus, the painting blurs lines between painting and music, visual and aural, object and performance, introducing an element of ‘play’ that decentres any one allegorical meaning.
Jacobo Tintoretto的《女人制造音乐》（1566年后，德累斯顿Gemäldegalerie Alte Meister）中模糊的神话背景让学者们感到困惑，导致人们对该作品的寓言意义几乎没有达成共识。例如，H.Colin Slim在画中强调了身体的有序排列，暗示了对作品的音乐宇宙学解读。另一方面，莉安娜·德·吉罗拉米·切尼在她的阅读中包含了感性，这表明这幅画代表了金星的双重本性。在这篇文章中，我以Cheney对这部作品的双重解读为基础，但对部分书和表演的关注有所不同，探讨了这幅画如何模糊了绘画作为表演和音乐制作作为视觉体验之间的界限，从而产生了一个可表演的绘画形象。我首先展示了所描绘的部分书中的音乐是如何编码两种不同的体验绘画的方式的：一种是安德里亚·加布里利（Andrea Gabrieli）的牧歌《Quanto lieta》中的习得和巧妙的典故，另一种是匿名的canzona napolitana Dolc'amorose中的快乐和色情。通过使用部分书籍作为解释线索，我认为这幅画有助于文艺复兴时期绘画和音乐之间的典范，特别是从16世纪初绘画、音乐和理性之间的联系转向对绘画的手工、感官和具体行为的庆祝。这种对画作的解读要求观众通过视觉和歌唱的组合策略来识别歌曲，根据观众表演的音乐，画作听起来会有所不同：复杂而高雅的牧歌或感官愉悦的canzona。因此，这幅画模糊了绘画与音乐、视觉与听觉、物体与表演之间的界限，引入了一种“游戏”元素，使任何一种寓言意义都偏离了中心。
{"title":"Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music","authors":"Barbara Swanson","doi":"10.1093/em/caac063","DOIUrl":"https://doi.org/10.1093/em/caac063","url":null,"abstract":"\u0000 The vague mythological context of Jacopo Tintoretto’s Women making music (after 1566, Dresden Gemäldegalerie Alte Meister) has puzzled scholars, resulting in little consensus regarding the allegorical meaning of the work. H. Colin Slim, for example, emphasized the orderly disposition of bodies in the painting, suggesting a musical-cosmological reading of the work. Liana de Girolami Cheney, on the other hand, includes the sensual in her reading, suggesting that the painting represents the dual natures of Venus.\u0000 In this article, I build on Cheney’s dual reading of the work but focus differently on the partbooks and performance, exploring how the painting blurs lines between painting as performance, and music-making as visual experience, resulting in a painted performable image. I first demonstrate how the music in the depicted partbooks encodes two divergent ways of experiencing the painting: one characterized by learned and clever allusions in the case of Andrea Gabrieli’s madrigal Quando lieta, and the other through pleasure and the erotic in the case of the anonymous canzona napolitana Dolc’amorose. By using the partbooks as interpretative clues, I argue that the painting contributes to the Renaissance paragone between painting and music, in particular a shift away from early 16th-century associations between painting, music and reason towards a celebration of the manual, sensory and embodied acts of painting. This interpretation of the painting requires the viewer to identify the songs through a combined strategy of seeing and singing, with the painting sounding differently depending on which music the viewer performs: the intricate and elevated madrigal or the sensually pleasing canzona. Seen thus, the painting blurs lines between painting and music, visual and aural, object and performance, introducing an element of ‘play’ that decentres any one allegorical meaning.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41708686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Music, gender and the erotic in Italian visual culture of the 16th century: introduction","authors":"Samantha Chang, T. Shephard","doi":"10.1093/em/caad003","DOIUrl":"https://doi.org/10.1093/em/caad003","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46159105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Prosulas in theory and practice","authors":"Henry Parkes","doi":"10.1093/em/caad004","DOIUrl":"https://doi.org/10.1093/em/caad004","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48381771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Very early music in <i>Early Music</i>","authors":"Helen Deeming","doi":"10.1093/em/caac072","DOIUrl":"https://doi.org/10.1093/em/caac072","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134940336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the present time, when everything seems to have been discovered, researched and revisited, it seems difficult to find a ‘first’. Yet this batch of recordings presents six firsts for early modern Italian sacred vocal polyphonic music. A collection of representative mid-17th-century small-scale sacred monodies by Carlo Filago and Leonardo Leo’s responsories are recorded in their entirety for the first time. The first two albums of Giovanni Legrenzi’s collected liturgical music revisit the late 17th-century composer’s opus, in line with the performers’ goal to record his complete works. Similarly, another in a line of first recordings of Melchior Vulpius’s liturgical output is added to the project, slowly working towards the completion of this composer’s oeuvre on disc. Lastly, late 15th- and early 16th-century music from Italian convents reaches us for the first time. Performed by Italian ensemble Les Nations, Carlo Filago: Sacri concerti a voce sola, 1642 (Tactus tc 580610, issued 2022) is a first in the row of firsts: a first almost complete recording of the composer’s last collection, missing only two out of 16 original compositions. In the context of the rest of his opus—two collections of polyphonic motets (1611 and 1619) and a lost collection of Sacrae cantiones (1611)—this collection presents a genre typical of the period. Sacred monody was an effective and popular tool in devotion and was well known by the mid 17th century. In the liner notes, musicologist Mariarosa Pollastri points out that the collection is directly connected to a Polish nun Maria Felice Sbarasca (active in the convent of St Marco and St Andrea in Murano), as well as Filago’s afterword. There, he uncovers his dissatisfaction with ‘the modern way of singing and composing’, in which he ‘condemns decidedly the excesses of the virtuosi that sing in the church as if they were in a theatre’.
{"title":"Lavish sounds of early modern Italy","authors":"Tin Cugelj","doi":"10.1093/em/caac084","DOIUrl":"https://doi.org/10.1093/em/caac084","url":null,"abstract":"In the present time, when everything seems to have been discovered, researched and revisited, it seems difficult to find a ‘first’. Yet this batch of recordings presents six firsts for early modern Italian sacred vocal polyphonic music. A collection of representative mid-17th-century small-scale sacred monodies by Carlo Filago and Leonardo Leo’s responsories are recorded in their entirety for the first time. The first two albums of Giovanni Legrenzi’s collected liturgical music revisit the late 17th-century composer’s opus, in line with the performers’ goal to record his complete works. Similarly, another in a line of first recordings of Melchior Vulpius’s liturgical output is added to the project, slowly working towards the completion of this composer’s oeuvre on disc. Lastly, late 15th- and early 16th-century music from Italian convents reaches us for the first time. Performed by Italian ensemble Les Nations, Carlo Filago: Sacri concerti a voce sola, 1642 (Tactus tc 580610, issued 2022) is a first in the row of firsts: a first almost complete recording of the composer’s last collection, missing only two out of 16 original compositions. In the context of the rest of his opus—two collections of polyphonic motets (1611 and 1619) and a lost collection of Sacrae cantiones (1611)—this collection presents a genre typical of the period. Sacred monody was an effective and popular tool in devotion and was well known by the mid 17th century. In the liner notes, musicologist Mariarosa Pollastri points out that the collection is directly connected to a Polish nun Maria Felice Sbarasca (active in the convent of St Marco and St Andrea in Murano), as well as Filago’s afterword. There, he uncovers his dissatisfaction with ‘the modern way of singing and composing’, in which he ‘condemns decidedly the excesses of the virtuosi that sing in the church as if they were in a theatre’.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134976734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In his influential 1597 treatise A plaine and easie introduction to practicall musicke Thomas Morley presents—through the medium of a Platonic dialogue among the characters Polymathes, Philomathes and Master—all the knowledge and skills necessary, in his opinion, to master the art of composition. One of the main themes of the work, which is explored in its third part, is an insistence that any aspiring musician should study Italian music in both its present but also historical styles, and as part of this the Master describes key vocal and instrumental forms. He begins his discussion of the latter with the ‘fantasie’, giving it the epithet found in the title of this review and defining it as ‘when a musician taketh a point at his pleasure, and wresteth and turneth it as he list, making either much or little of it according as shall seeme best in his own conceit’. Whether or not any of the northern European, High Baroque composers whose music is featured on this selection of albums would have known of Morley or his seminal treatise is a matter for speculation—yet each of the recordings under the spotlight has something of the fantastical about it, whether in form or in substance. This is, unsurprisingly, most apparent on Alina Ibragimova’s Georg Philipp Telemann: Fantasias for solo violin (Hyperion cda68384, issued 2022)—indeed, Joseph Fort’s booklet note references Morley’s text—which presents the complete set of solo violin fantasias published by Telemann alongside those for flute, keyboard and viola da gamba between 1732 and 1736. While not on the scale of, say, the solo violin works of J. S. Bach—these are all three- or four-movement works, each lasting between four and eight minutes—they nevertheless show Telemann at his most sparkling and inventive; as Fort notes, they were primarily aimed at the amateur market, and ‘designed as much for the pleasure of playing as for the pleasure of listening’. That is not to say, of course, that they present no challenge to the professional; in the hands of Ibragimova, these pieces that could sound merely gemütlich or even perhaps trite in places instead come across as rich in invention and variety, charming little miniatures that entertain without outstaying their welcome. She adopts a fairly brisk approach, which suits the tone of her 1570 Amati, and this for me works better here than the more relaxed tempos of Rachel Podger, for example.
1597年，托马斯·莫利在他颇有影响力的专著《实用音乐的简单介绍》中，通过柏拉图式的对话，介绍了波吕马、菲洛马和马斯特这三个人物，在他看来，掌握作曲艺术所必需的所有知识和技能。第三部分探讨了作品的主题之一，即坚持任何有抱负的音乐家都应该学习意大利音乐的现代风格和历史风格，作为这一主题的一部分，大师描述了关键的声乐和器乐形式。他以“幻想”开始了对后者的讨论，给了它一个在这篇评论的标题中可以找到的绰号，并把它定义为“当一个音乐家随心所欲地抓住一个点，随心所欲地扭动和转动它，根据他自己的自负做出或多或少的最好的东西”。无论这些精选专辑中的北欧、巴洛克时期的作曲家是否知道莫利或他的开创性论文，这都是一个猜测的问题，但聚光灯下的每一张唱片都有一些幻想的东西，无论是在形式上还是在内容上。毫无疑问，这一点在Alina Ibragimova的《Georg Philipp Telemann:小提琴独奏幻想曲》(Hyperion cda68384, 2022年发行)中最为明显——事实上，Joseph Fort的小册子参考了Morley的文本，其中展示了Telemann在1732年至1736年间出版的全套小提琴独奏幻想曲，以及长笛，键盘和中提琴da gamba的幻想曲。虽然不像j.s.巴赫的小提琴独奏作品——这些都是三乐章或四乐章的作品，每个乐章持续4到8分钟——但它们展示了泰勒曼最闪耀和最具创造力的一面;正如Fort所指出的那样，它们主要针对业余市场，并且“为了演奏的乐趣和聆听的乐趣而设计”。当然，这并不是说它们对专业人士没有挑战;在伊布拉吉莫娃的手中，这些作品听起来可能只是平庸的，甚至在某些地方可能是陈年的，但却给人留下了丰富的发明和多样性，迷人的小微缩作品，令人愉悦而又不受欢迎。她采用了一种相当轻快的方式，这与她的1570 Amati的基调很适合，对我来说，这比雷切尔·波杰(Rachel Podger)那种更轻松的节奏更有效。
{"title":"‘The most principall and chiefest kind of musicke’","authors":"Adrian Horsewood","doi":"10.1093/em/caac083","DOIUrl":"https://doi.org/10.1093/em/caac083","url":null,"abstract":"In his influential 1597 treatise A plaine and easie introduction to practicall musicke Thomas Morley presents—through the medium of a Platonic dialogue among the characters Polymathes, Philomathes and Master—all the knowledge and skills necessary, in his opinion, to master the art of composition. One of the main themes of the work, which is explored in its third part, is an insistence that any aspiring musician should study Italian music in both its present but also historical styles, and as part of this the Master describes key vocal and instrumental forms. He begins his discussion of the latter with the ‘fantasie’, giving it the epithet found in the title of this review and defining it as ‘when a musician taketh a point at his pleasure, and wresteth and turneth it as he list, making either much or little of it according as shall seeme best in his own conceit’. Whether or not any of the northern European, High Baroque composers whose music is featured on this selection of albums would have known of Morley or his seminal treatise is a matter for speculation—yet each of the recordings under the spotlight has something of the fantastical about it, whether in form or in substance. This is, unsurprisingly, most apparent on Alina Ibragimova’s Georg Philipp Telemann: Fantasias for solo violin (Hyperion cda68384, issued 2022)—indeed, Joseph Fort’s booklet note references Morley’s text—which presents the complete set of solo violin fantasias published by Telemann alongside those for flute, keyboard and viola da gamba between 1732 and 1736. While not on the scale of, say, the solo violin works of J. S. Bach—these are all three- or four-movement works, each lasting between four and eight minutes—they nevertheless show Telemann at his most sparkling and inventive; as Fort notes, they were primarily aimed at the amateur market, and ‘designed as much for the pleasure of playing as for the pleasure of listening’. That is not to say, of course, that they present no challenge to the professional; in the hands of Ibragimova, these pieces that could sound merely gemütlich or even perhaps trite in places instead come across as rich in invention and variety, charming little miniatures that entertain without outstaying their welcome. She adopts a fairly brisk approach, which suits the tone of her 1570 Amati, and this for me works better here than the more relaxed tempos of Rachel Podger, for example.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134976903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Under the reign of Duke Bolesław V, Poland lived through a period of cultural prosperity with several newly founded monastic centres and productive scriptoria. Particularly important were two convents of the Order of St Clare, founded by the duke’s sister, the blessed Salomea, and his wife, St Kinga. Both cloisters were led in the spirit of royal foundations and were important repositories of medieval chant and polyphony. While Stary Sącz (founded 1280) is famous for preserving several polyphonic unica, such as the four-part conductus Omnia beneficia and fragments of Notre Dame motets, it also contains contrary-motion two-voice Benedicamus settings, added beneath monophonic Benedicamus melodies, which seem to be written records of the kinds of oral polyphonic practices common in female cloisters. Unique two- and three-part troped Benedicamus settings are also preserved in the archive in Kraków, where they too were a late addition to an earlier manuscript, revealing a particular interest in the provision of notated polyphony for the Benedicamus. This article investigates these polyphonic Benedicamus settings in their broader liturgical context. It identifies several new plainchant concordances and reflects on the status of music and polyphony in the Clarist Order in southern Poland.
{"title":"Poor Clares, rich in music: unique polyphonic Benedicamus Domino settings from southern Polish convents in the late 13th and early 14th centuries","authors":"Agnieszka Budzińska-Bennett","doi":"10.1093/em/caac052","DOIUrl":"https://doi.org/10.1093/em/caac052","url":null,"abstract":"Under the reign of Duke Bolesław V, Poland lived through a period of cultural prosperity with several newly founded monastic centres and productive scriptoria. Particularly important were two convents of the Order of St Clare, founded by the duke’s sister, the blessed Salomea, and his wife, St Kinga. Both cloisters were led in the spirit of royal foundations and were important repositories of medieval chant and polyphony. While Stary Sącz (founded 1280) is famous for preserving several polyphonic unica, such as the four-part conductus Omnia beneficia and fragments of Notre Dame motets, it also contains contrary-motion two-voice Benedicamus settings, added beneath monophonic Benedicamus melodies, which seem to be written records of the kinds of oral polyphonic practices common in female cloisters. Unique two- and three-part troped Benedicamus settings are also preserved in the archive in Kraków, where they too were a late addition to an earlier manuscript, revealing a particular interest in the provision of notated polyphony for the Benedicamus. This article investigates these polyphonic Benedicamus settings in their broader liturgical context. It identifies several new plainchant concordances and reflects on the status of music and polyphony in the Clarist Order in southern Poland.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"2 8","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138540653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract As he explains at great length in his introduction, Sigismondo Fanti painstakingly calculated and constructed his Triompho di Fortuna with the purpose of enlightening its reader as to their fortunes following on from a given situation in their life. Every step along the somewhat convoluted journey towards discovering one’s fortune is accompanied by richly meaningful imagery. The illustrations not only, in some cases, summarize the text, but also make persistent connections between the playing of the game and broader intellectual, military and artistic culture. Music appears in multiple visual forms throughout the book. Some of the ‘Wheels’ forming part of the journey through the game are given musical characters (‘Wheel of Music’, ‘Wheel of the Lyre’). A very large cycle of portraits appearing alongside some segments of the game includes musicians ranging from mythological figures to Fanti’s contemporaries. And among the tiny woodcut scenes that accompany and characterize the various fortunes at the end of the book are several musical scenes. A substantial proportion of the questions and answers provided by the book concern love, and it is with fortunes concerned with love that musical scenes are most often associated, shading across the topics of sex, romance, decorum and faithfulness. In this article—the first to expose Fanti’s the Triompho di Fortuna as a rich, multidisciplinary source—the connections proposed in the book between different aspects of love and their musical characterization will be discussed and contextualized.
{"title":"Music and love in Sigismondo Fanti’s <i>Triompho di Fortuna</i> (1527)","authors":"Annabelle Page","doi":"10.1093/em/caac068","DOIUrl":"https://doi.org/10.1093/em/caac068","url":null,"abstract":"Abstract As he explains at great length in his introduction, Sigismondo Fanti painstakingly calculated and constructed his Triompho di Fortuna with the purpose of enlightening its reader as to their fortunes following on from a given situation in their life. Every step along the somewhat convoluted journey towards discovering one’s fortune is accompanied by richly meaningful imagery. The illustrations not only, in some cases, summarize the text, but also make persistent connections between the playing of the game and broader intellectual, military and artistic culture. Music appears in multiple visual forms throughout the book. Some of the ‘Wheels’ forming part of the journey through the game are given musical characters (‘Wheel of Music’, ‘Wheel of the Lyre’). A very large cycle of portraits appearing alongside some segments of the game includes musicians ranging from mythological figures to Fanti’s contemporaries. And among the tiny woodcut scenes that accompany and characterize the various fortunes at the end of the book are several musical scenes. A substantial proportion of the questions and answers provided by the book concern love, and it is with fortunes concerned with love that musical scenes are most often associated, shading across the topics of sex, romance, decorum and faithfulness. In this article—the first to expose Fanti’s the Triompho di Fortuna as a rich, multidisciplinary source—the connections proposed in the book between different aspects of love and their musical characterization will be discussed and contextualized.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136082615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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