Essays dealing with the controversial concept of the ‘work’, and how far social and cultural practices are integral to it.
The linking theme of the essays collected here is the intersection of musical work with social and cultural practice. Inspired by Professor Strohm’s ideas, as is fitting in a volume in his honour, leading scholars in the field explore diverse conceptualizations of the ‘work’ within the contexts of a specific repertory, over four main sections. Music in Theory and Practice studies the link between treatises and musical practice, and analyses how historicalwritings can reveal period views on the ‘work’ in music before 1800. Art and Social Process: Music in Court and Urban Societies looks at the social and cultural practices informing composition from the late Renaissance until the mid-eighteenth century, and interrogates current notions of canon formation and the exchange between local and foreign traditions. Creating an Opera Industry focuses on how genre and artistic autonomy were defined in operas from diverse eras and countries, explaining the role of literature and politics in this process. Finally, The Crisis of Modernity treats nineteenth-century music, offering new models for ‘work’ and ‘context’ to challenge reigning theories of the meaning of these terms.
CONTRIBUTORS: AMNON SHILOAH, ANNA MARIA BUSSE BERGER, MARGARET BENT, EDWARD WICKHAM, BONNIE J. BLACKBURN, DAVID BRYANT, ELENA QUARANTA, OWEN REES, ALINA ZORAWSKA-WITKOWSKA, ELLEN T. HARRIS, CHRISTOPH WOLFF, NORBERT DUBOWY, MICHAEL TALBOT, MELANIA BUCCIARELLI, FRANCESCA MENCHELLI-BUTTINI, BERTA JONCUS, MICHEL NOIRAY, MICHAEL FEND, EMANUELE SENICI, FEDERICO CELESTINI, PAMELA POTTER, GIOVANNI MORELLI, JANET SMITH
Tabla de materias
Laudatio – Pierluigi Petrobelli
Anonymous Arabic Treatises on Music: Lost Legacies, Hidden Answers – Amnon Shiloah
Compositional Practices in Trecento Music: Model Books and Musical Traditions – Anna Maria Busse Berger
Trompetta and
Concordans Parts in the Early Fifteenth Century – Margaret Bent
Recording for Posterity: Some Reflections on the Memorialising of Early Renaissance Music – Edward Wickham
How to Sin in Music: Doctor Navarrus on Sixteenth-Century Singers – Bonnie Blackburn
Traditions and Practices in Fifteenth- and Sixteenth-Century Sacred Polyphony: The Use of Solo Voices with Instrumental Accompaniment – Elena Quaranta
Traditions and Practices in Fifteenth- and Sixteenth-Century Sacred Polyphony: The Use of Solo Voices with Instrumental Accompaniment – David Bryant
`The City Full of Grief’: Music for the Exequies of King Philip II –
Giovanni Alberto Ristori and his Serenate at the Polish Court of Augustus III, 1735-1746 – Alina Zorawska-Witkowska
`Cantate, que me veux-tu?’ or: Do Handel’s Cantatas Matter? – Ellen T. Harris
Two Koechel Numbers, One Work – Christopher Wolff
Identity and Poetic Style: The Case of
Rosmene by Giueseppe Domenico de Totis – Norbert Dubowy
How Operatic is Vivaldi’s
Juditha triumphans? – Michael Talbot
Venice and the East: Operatic Readings of Tasso’s Armida in Early Eighteenth-Century Venice – Melania Bucciarelli
Literary Motifs in Metastasio’s and Jommelli’s
Ciro riconosciuto – Francesca Menchelli-Buttini
Producing Stars in
Dramma per musica –
The Pre-revolutionary Origins of `Terrorisme musical’ – Michel Noiray
Pieces into Works: Chrubini’s Substitute Arias for the Théâtre Feydeau – Michael Fend
At the Tavern with Manzoni and Verdi:
I promessi sposi and the Dramaturgy of
La forza del destino – Emanuele Seinci
The Acoustic Proximity of Temporal Distance: Auratic Sonority in Mahler’s
Leider eines fahrenden Gesellen – Federico Celestini
Creating a Concept of `Nazi Musicology’ – Pamela Potter
Et in Arcadia adhuc: Observations on the Continuing Evolution of the `Pastoral Idea’ – Giovanni Morelli
Reinhard Strohm: List of Publications – Janet Smith
Sobre el autor
MARGARET BENT is an Emeritus Fellow of All Souls College, Oxford.
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