{"title":"Early Music and materiality—2","authors":"J. Milsom","doi":"10.1093/em/caac073","DOIUrl":"https://doi.org/10.1093/em/caac073","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46145928","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":"When the CD was king: reminiscences of a Reviews Editor","authors":"F. Fitch","doi":"10.1093/em/caac069","DOIUrl":"https://doi.org/10.1093/em/caac069","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42840924","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 figure of the courtesan features in many literary and artistic productions of the Italian Cinquecento. The term ‘musical courtesan’ has been widely used to describe several portraits produced in the first half of the 16th century representing beautiful young women (belle) in different attires playing the lute. This article problematizes the notion of the ‘musical courtesan’ and argues instead that these depictions of belle should be understood in terms of the varied interpretations that might be reached by 16th-century viewers. Such portraits could convey higher ideals such as the institution of marriage of the contemplation of beauty. Case-studies are offered of portraits by Andrea Solario (1460–1524), Bartolomeo Veneto (1502–55), Parrasio Micheli (c.1516–78) and Palma Vecchio (c.1480–1528) that show beautiful, young female lutenists in different attires.
{"title":"An alluring sight of music: the musical ‘courtesan’ in the Cinquecento","authors":"Laura Ventura Nieto","doi":"10.1093/em/caac078","DOIUrl":"https://doi.org/10.1093/em/caac078","url":null,"abstract":"\u0000 The figure of the courtesan features in many literary and artistic productions of the Italian Cinquecento. The term ‘musical courtesan’ has been widely used to describe several portraits produced in the first half of the 16th century representing beautiful young women (belle) in different attires playing the lute. This article problematizes the notion of the ‘musical courtesan’ and argues instead that these depictions of belle should be understood in terms of the varied interpretations that might be reached by 16th-century viewers. Such portraits could convey higher ideals such as the institution of marriage of the contemplation of beauty. Case-studies are offered of portraits by Andrea Solario (1460–1524), Bartolomeo Veneto (1502–55), Parrasio Micheli (c.1516–78) and Palma Vecchio (c.1480–1528) that show beautiful, young female lutenists in different attires.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60765707","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":"Singers on the streets","authors":"Micah Anne Neale","doi":"10.1093/em/caac037","DOIUrl":"https://doi.org/10.1093/em/caac037","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44123511","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}
Late in his career, Titian (and his workshop) treated the Venus with musician theme in a series of five similar paintings of unconfirmed patronage. All show the goddess in the same reclined pose, but the musician at her feet transmutes over the course of the series from organist to lutenist, and subtly changes position in the frame. Recently, the paintings and their thematic origins have elicited much debate among art historians McIver, Goffen, Falomir and others. But any mention of the painting’s musical instruments remains confined to discussion of the works’ composition, perspective, or implicit Neoplatonic or Petrarchan sensory discourse. In particular, conversation regarding Titian’s viol only highlights its crude form, as ‘proof’ of the series’ completion, after Titian’s death, by a less-skilled hand. Despite its generally noble status throughout its lifespan, the viol became a widely sexualized object in Renaissance Italian literature; the first viol-centric sexual allusion comes from Straparola’s Le piacevoli notti, ii (Venice, 1553), which closely coincides in time and place with the viol’s appearance on Titian’s canvas. In particular, considering the wealth of viol-sexualizing English poetry and drama in the following century, connections between Titian’s Venus and Le piacevoli notti, with its ultimate vogue in English Transalpina culture, warrant recognition and investigation.
{"title":"‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series","authors":"Malachai Komanoff Bandy","doi":"10.1093/em/caac057","DOIUrl":"https://doi.org/10.1093/em/caac057","url":null,"abstract":"\u0000 Late in his career, Titian (and his workshop) treated the Venus with musician theme in a series of five similar paintings of unconfirmed patronage. All show the goddess in the same reclined pose, but the musician at her feet transmutes over the course of the series from organist to lutenist, and subtly changes position in the frame. Recently, the paintings and their thematic origins have elicited much debate among art historians McIver, Goffen, Falomir and others. But any mention of the painting’s musical instruments remains confined to discussion of the works’ composition, perspective, or implicit Neoplatonic or Petrarchan sensory discourse. In particular, conversation regarding Titian’s viol only highlights its crude form, as ‘proof’ of the series’ completion, after Titian’s death, by a less-skilled hand.\u0000 Despite its generally noble status throughout its lifespan, the viol became a widely sexualized object in Renaissance Italian literature; the first viol-centric sexual allusion comes from Straparola’s Le piacevoli notti, ii (Venice, 1553), which closely coincides in time and place with the viol’s appearance on Titian’s canvas. In particular, considering the wealth of viol-sexualizing English poetry and drama in the following century, connections between Titian’s Venus and Le piacevoli notti, with its ultimate vogue in English Transalpina culture, warrant recognition and investigation.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49091787","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}
Christmas, as the celebration of the birth of Jesus Christ, is a central and joyful feast of Christian worship. In medieval and early modern Europe, this translated into a rich musical tradition, of which Christmas songs were a significant part. Song collections from the Devotio moderna, a spiritual movement that spread in the Low Countries and Germany during the 15th and 16th centuries, are an important witness to this Christmas tradition. However, because of their wide dissemination and their simple musical style, these songs have presented an historiographical challenge: it has proved impossible to detail in full the ubiquitous circulation of the well-known songs adopted within the Devotio moderna, as well as to subject their music and texts to close analysis of the kind usually undertaken for more ‘complex’ polyphony. In this context, the Benedicamus Domino offers a new and productive perspective: not only was the Benedicamus Domino singled out for special permission to be sung in polyphony at Christmas, but many Christmas songs are in fact Benedicamus tropes. I trace the uses and functional implications of the Benedicamus Domino within a single and very widely transmitted song, Puer nobis nascitur. Based on an analysis of its polyphonic versions in Latin and of its transmissions with a mix of Latin and vernacular texts, I argue that the Benedicamus was one element deliberately used in Christmas songs to guide spiritual exercises and meditation, inspiring and expressing joy during the Christmas season.
圣诞节，作为庆祝耶稣基督诞生的节日，是基督教崇拜的中心和欢乐的节日。在中世纪和现代早期的欧洲，这转化为丰富的音乐传统，圣诞歌曲是其中的重要组成部分。15世纪和16世纪在低地国家和德国传播的一场精神运动“现代奉献”的歌曲收藏是这一圣诞节传统的重要见证。然而，由于它们的广泛传播和简单的音乐风格，这些歌曲提出了一个历史挑战：事实证明，不可能全面详细描述现代音乐中普遍流传的著名歌曲，也不可能对它们的音乐和文本进行更“复杂”的复调的密切分析。在这种背景下，Benedicamus Domino提供了一个新的、富有成效的视角：Benedicams Domino不仅被特别允许在圣诞节用复调演唱，而且许多圣诞歌曲实际上都是Benedicamos的比喻。我在一首广为传播的歌曲《Puer nobis nascitur》中追溯了Benedimus Domino的用途和功能含义。基于对其拉丁语复调版本及其与拉丁语和白话文混合的传播的分析，我认为Benedicamus是圣诞歌曲中故意使用的一个元素，用于指导精神锻炼和冥想，在圣诞节期间激励和表达欢乐。
{"title":"Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna","authors":"Manon Louviot","doi":"10.1093/em/caac050","DOIUrl":"https://doi.org/10.1093/em/caac050","url":null,"abstract":"\u0000 Christmas, as the celebration of the birth of Jesus Christ, is a central and joyful feast of Christian worship. In medieval and early modern Europe, this translated into a rich musical tradition, of which Christmas songs were a significant part. Song collections from the Devotio moderna, a spiritual movement that spread in the Low Countries and Germany during the 15th and 16th centuries, are an important witness to this Christmas tradition. However, because of their wide dissemination and their simple musical style, these songs have presented an historiographical challenge: it has proved impossible to detail in full the ubiquitous circulation of the well-known songs adopted within the Devotio moderna, as well as to subject their music and texts to close analysis of the kind usually undertaken for more ‘complex’ polyphony. In this context, the Benedicamus Domino offers a new and productive perspective: not only was the Benedicamus Domino singled out for special permission to be sung in polyphony at Christmas, but many Christmas songs are in fact Benedicamus tropes. I trace the uses and functional implications of the Benedicamus Domino within a single and very widely transmitted song, Puer nobis nascitur. Based on an analysis of its polyphonic versions in Latin and of its transmissions with a mix of Latin and vernacular texts, I argue that the Benedicamus was one element deliberately used in Christmas songs to guide spiritual exercises and meditation, inspiring and expressing joy during the Christmas season.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49494034","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":"Patterns of devotion in Britain and Ireland","authors":"Sarah Hamilton","doi":"10.1093/em/caad006","DOIUrl":"https://doi.org/10.1093/em/caad006","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44502099","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 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":null,"pages":null},"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":null,"pages":null},"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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：