EARLY MUSIC最新文献_第7页

Early Music and materiality—2 早期音乐与物质性——2

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-03-02 DOI: 10.1093/em/caac073

J. Milsom

引用次数: 0

When the CD was king: reminiscences of a Reviews Editor 当CD成为王者：一位评论编辑的回忆

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-03-01 DOI: 10.1093/em/caac069

F. Fitch

引用次数: 0

An alluring sight of music: the musical ‘courtesan’ in the Cinquecento 迷人的音乐景象:五十年代的音乐“交际花”

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-23 DOI: 10.1093/em/caac078

Laura Ventura Nieto

引用次数: 1

Singers on the streets 街上的歌手

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-23 DOI: 10.1093/em/caac037

Micah Anne Neale

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‘With the base Viall placed between my Thighes’: musical instruments and sexual subtext in Titian’s Venus with musician series 提香的《与音乐家的维纳斯》系列中的乐器和性潜台词:“我的大腿之间有基座”

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-23 DOI: 10.1093/em/caac057

Malachai Komanoff Bandy

{"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}

引用次数: 0

Benedicamus Domino as an expression of joy in Christmas songs of the Devotio moderna Benedicamus Domino作为现代Devotio圣诞歌曲中欢乐的表达

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-23 DOI: 10.1093/em/caac050

Manon Louviot

{"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}

引用次数: 0

Patterns of devotion in Britain and Ireland 英国和爱尔兰的奉献模式

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-22 DOI: 10.1093/em/caad006

Sarah Hamilton

引用次数: 0

Hildegard’s Gesamtkunstwerk

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-22 DOI: 10.1093/em/caad005

Nathaniel M Campbell

引用次数: 0

Music markets in Georgian Britain 格鲁吉亚-英国的音乐市场

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-22 DOI: 10.1093/em/caad007

Nicholas McGegan

引用次数: 0

Madrigal or canzona? Performing intellectual and sensual pleasure in Jacopo Tintoretto’s Women making music 牧歌还是赞美诗?在雅格布·丁托列托的《女人们制作音乐》中表现智力和感官上的愉悦

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-02-11 DOI: 10.1093/em/caac063

Barbara Swanson

{"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}

引用次数: 0