EARLY MUSIC最新文献_第9页

Freynshe fare Freynshe票价

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2023-01-03 DOI: 10.1093/em/caac082

Richard Robinson

引用次数: 0

Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565) 她会还是不会？Bernardino Licinio（1489–1565）两幅作品中女性音乐才能的矛盾心理

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2022-12-17 DOI: 10.1093/em/caac056

Chriscinda Henry

{"title":"Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)","authors":"Chriscinda Henry","doi":"10.1093/em/caac056","DOIUrl":"https://doi.org/10.1093/em/caac056","url":null,"abstract":"\u0000 This article examines the depiction of sexual proposition, the corruption of female virtue and the ambivalent allurements of secular music in a pair of 16th-century Concert paintings by the Venetian artist Bernardino Licinio. It argues that Licinio’s multi-figure concerts, centred on the music-making of young women, both parody and invert the classical elegiac theme of the pauper amans, the impoverished poet-lover who condemns the power of wealth and bestows poetry instead of gold on his beloved, only to be rejected due to her vanity and materialism. The pauper amans theme appears in several 16th-century Venetian strambotti and early madrigals, which are decidedly satiric in tone. In his paintings, Licinio reverses the familiar roles of poet and beloved, and the refined music of the virtuous-seeming young woman is challenged by the dissonant sound of her older male admirer shaking a purse full of coins or by his bold physical advances, which impede her playing. The dissonant and crude gesture of offering her coin payment equates the young woman’s art of music with her sexuality. It alleges not only her corruptibility and low status as a piece of merchandise for sale, but also debases the spiritually elevating art of music, with its noble and abstract figurations of love. The motif of the shaken purse with its ‘music of gold’ first appears in the Venetian dialect comedy La buelsca (c.1514), and is repeated in a series of later songs and poems centred on the subject of the grasping, mercenary prostitute in the 1520s and 30s. Licinio’s paintings play with such popular literary and musical themes but ultimately prefer visual ambiguity and unresolved narrative tension to their frankness and specificity.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143756","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

Recordings for all seasons 所有季节的录音

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2022-12-06 DOI: 10.1093/em/caac058

J. Cunningham

引用次数: 0

Violin-making in Rome, 1700−1830: new archival investigations 1700 - 1830年罗马小提琴制作:新档案调查

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2022-11-04 DOI: 10.1093/em/caac039

P. Barbieri

{"title":"Violin-making in Rome, 1700−1830: new archival investigations","authors":"P. Barbieri","doi":"10.1093/em/caac039","DOIUrl":"https://doi.org/10.1093/em/caac039","url":null,"abstract":"\u0000 In the 16th and 17th centuries, Roman production in the lutherie sector focused almost exclusively on plucked-string instruments: in the numerous workshop inventories that have come down to us, the various members of the viola family are very rare indeed, while violins are almost entirely absent. Again in Rome, the profession of violin-maker (‘violinaro’) starts to appear only in the second quarter of the 18th century; unlike the situation with the luthiers of the two previous centuries, only one workshop inventory has previously been described from this type of maker: that of the ‘violinaro’ Crescenzio Ugar (1791), which unfortunately provides very little information about the maker’s effective production.\u0000 This article aims to help to fill the gap, which is all the more serious since it concerns a class of instruments that (unlike those of the plucked-string type) was the most valued from the 18th century onwards—not only from a musical point of view, but also from a purely economic perspective. I refer in particular to three previously unpublished inventories of the stock of well-known violinari operating in Rome: Francesco Emiliani (1736), Giulio Cesare Gigli (1794) and Giovanni Maria Valenzano (1826). To these we may add Magno Longo (1704), one of just two guitar-makers (‘chitarrari’) of German origin, from whose workshop we also find documentation concerning the production of violins. I also present a review of the instruments played by several Roman violinists during the 18th and 19th centuries.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45744374","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

The Chevalier de Quincy: an officer and his musical passe-partout 昆西骑士:一名军官和他的音乐通行证

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2022-11-04 DOI: 10.1093/em/caac044

Julie Anne Sadie Goode

引用次数: 0

New interpretations of Paganini, Schubert, Schumann and Brahms 帕格尼尼、舒伯特、舒曼和勃拉姆斯的新诠释

IF 0.3 2区艺术学

EARLY MUSIC Pub Date : 2022-10-11 DOI: 10.1093/em/caac015

C. Valenti

引用次数: 0

Familiar and unfamiliar 熟悉和不熟悉