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Self-referential music illuminates connections between musicians and reveals similarities between their networks and those of other professionals, especially visual artists. This book will appeal to readers interested in music and culture of the late medieval and early modern eras - musicians, musicologists, and historians of art and culture.
List of contents
Introduction; Part I. Music about Musicians: 1. Paintings about painters to music about musicians; 2. Miserere Supplicanti Du Fay: building community through musical devotions at Cambrai Cathedral; 3. Ora Pro Nobis: forms of self-reference in musical prayers for musicians; 4. Plorer, Gemir, Crier: musical mourning and the composer; Part II. Music about Music: 5. Paintings about painting and music about music-making; 6. Simple lessons? Music theory as emblem of composition; 7. Constructing the composer: symbolic use of the hexachord in compositions c.1500; 8. Conclusion.
About the author
Jane D. Hatter is an assistant professor of musicology at the University of Utah. Her research delves into the musical communities that developed around fifteenth- and sixteenth-century music, including musical self-reference and intersections between music and the visual arts. Her examination of musical time and sexuality in early sixteenth-century Italian paintings is one of the five most read articles in the Oxford journal Early Music.
Summary
Self-referential music illuminates connections between musicians and reveals similarities between their networks and those of other professionals, especially visual artists. This book will appeal to readers interested in music and culture of the late medieval and early modern eras - musicians, musicologists, and historians of art and culture.
