En savoir plus
Presents a single-volume history of sixteenth-century music that focuses on the different ways people encountered music in their everyday lives.
Table des matières
Introduction Iain Fenlon and Richard Wistreich; Part I. Confessions, Identities, and Rhetorics of Power: 1. Catholic music in the sixteenth century Robert L. Kendrick; 2. Lutheranism and Calvinism Alexander Fisher; 3. Music and reform in France, England and Scotland Magnus Williamson; 4. Music in the early colonial world Olivia Bloechl; 4.1. Mexico City Melinda Latour; 4.2. The Catholic Mission to Japan 1549-1614 Olivia Bloechl; 5. Music and War Richard Wistreich; Part II. Culture, Place and Practice: 6. Urban soundscapes Iain Fenlon; 7. Interior spaces for music Flora Dennis; 8. The lives of musicians Richard Wistreich; 9. Domestic music Kate van Orden; Part III. Institutions, Ideas and the Order of Nature: 10. Institutions and intellectual life; 10.1. Italy Giuseppe Gerbino; 10.2. Germany Inga Mai Groote; 11. Music theory and pedagogy Thomas Christensen; 12. Music and science Floris Cohen and Jacomien Prins; 13. Music and magic Angela Voss.
A propos de l'auteur
Iain Fenlon is Emeritus Professor of Historical Musicology at the University of Cambridge and a Fellow of King's College, Cambridge. He is the Editor of the journal Early Music History. His most recent books are The Ceremonial City: History, Memory and Myth in Renaissance Venice (2008), Piazza San Marco (2009), and (co-edited with Inga Groote) Heinrich Glarean's Books: The Intellectual World of a Sixteenth-Century Musical Humanist (Cambridge, 2013).Richard Wistreich is Professor of Music and Director of Research at the Royal College of Music in London. His published work includes The Cambridge Companion to Monteverdi (edited, with John Whenham, Cambridge, 2007) and Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance (2007). He has also had a long career as a professional singer specialising in sixteenth- and seventeenth-century music, during which he has made more than 100 commercial recordings, appeared in opera, solo recitals, and as a member of several seminal ensembles of the early music revival.
Résumé
This volume in the Cambridge History of Music series aims to recover how people in the sixteenth century experienced music as part of their daily lives, and in doing so goes beyond traditional histories of genres, composers or individual countries to shed new light on the varied contexts of Renaissance music.
