DOCSLIB.ORG

Forgotten Reality, Remembered Fiction, Production Values and Court Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Forgotten Reality, Remembered Fiction, Production Values and Court Opera INFORMATION TO USERS This manuscript has been repockiced frwn the mkdilrn master. UMI films the text directly ftom the original or copy submitted. Thus, some thesis and dissertation copies are in Merface, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Brdcen or indistinct print, cdored or poor quality illustrations and photographs, print Meedttrmugh, substandard margins, and impmper alignment can adversely affect reprodudion. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuirlg from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6' x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, MI 48106-1346 USA 800-521-0600 FORGOTTEN mITY, REMEMBERED FICTION: PRODUCTION VALUES AND COURT OPERA, 1598-1608 Peter Eliot Weiss A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto O Copyright by Peter Eliot Weiss 1999 National Library Biblioth4que nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wetllimgton Ottawa ON K1A ON4 O(tawaON K1AW Canada cana8a The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la fonne de microfiche/£ilm, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantid extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent &re imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. FORGOTTEN REAL1 TY, REMEMBERED FICTION: PRODUCTION VALUES AND COURT OPERA, 1598-1608 A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy by Peter Eliot Weiss Graduate Centre for Study of Drama University of Toronto ABSTRACT The purpose of this thesis is to construct hypothetical productions of early operas by combining elements taken from documentation of performance practice at the time when the operas were created and fragmentary evidence of actual productions. To this end, I discuss the following operas: La Dafne by Jacopo Peri and Jacopo Corsi, with a libretto by Ottavio Rinuccini; La rappresentatione di Anima, et di Corpo by Emilio def Cavalieri, with a libretto by Agostino Manni; LrEuridice by Jacopo Peri, with a libretto by Ottavio Rinuccini; I1 rapimento di Cefalo by Giulio Caccini, with a libretto by Gabriello Chiabrera; L' Euridice by Giulio Caccini, a setting of the same libretto by Rinuccini; LfOrfeo by Claudio Monteverdi with a libretto by Alessandro Striggio; La Dafne by Marco da Gagliano, libretto by Ottavio Rinuccini; and, finally, Monteverdits Arianna, which also had a libretto by Rinuccini. Another way to describe a "hypothetical productionn would be "historicized ideal performance text." An "ideal performance textn is an imaginative construct that comes into being along with awareness of a theatrical representation, either present, past or future. It becomes "historicized" when it is created from documentary evidence. My historicized ideal performance texts are not reconstructions of actual performances but readings of the documentary material constantly visualizing the operas in performance. In my thesis I argue that looking at early court operas in the years from 1598 to 1608 from a theatrical perspective organizes the discussion of issues of performance with regard to these operas and allows a pattern to emerge, from early explorations in the staging of sung narrative, to an example of the form fully realized, a decade later. Production values evolve, though not in a linear fashion, from modest to relatively elaborate as the form itself matures and its integrity becomes more able to withstand the pressures of spectacle. In addition, by 1608 early court opera seems established enough to warrant a history of its early development. iii ACKNOWLEDGMENTS First of all, I would like to thank my committee, Mary Ann Parker, Domenico Pietropaolo and Olga Pugliese for the enormous support and encouragement that they have given me, along with the very necessary advice. In addition I would like to thank the staff of the Graduate Centre for Study in Drama for helping me in every way possible and making my time there as pleasant as it was stimulating and intense. The librarians on the fourth floor of Robarts Library and in the Music Library were also extremely patient and helpful and I owe them, as well, a debt of gratitude. I would like to thank my large and supportive family for their understanding and encouragement - in Vancouver, my son, Joseph and his mother Kathleen and in Ottawa, my brother Ron, sister-in-law Debbie and their family. Here in Toronto, I want to thank my partner Mike Sweeney for so generously sharing his piano and enormous knowledge of music, always answering my questions without ever making me feel embarrassed because they were elementary. For their generous support, I would like to thank the University of Toronto for the Mary H. Beatty Fellowship and the Arthur Lindsay Fernie Award, which allowed me to travel to Mantua, Florence, Venice, Rome and London to carry out research. I would like to thank the Government of Ontario for two Ontario Graduate Scholarships, in 1996 and 1997, and the Social Science and Humanities Research Council of Canada for the doctoral fellowship that I received in 1998. Finally, I would like to mention again my two supervisors, Mary Ann Parker and Domenico Pietropaolo who first suggested the topic. It was only their unwavering belief in my ability to assimilate the necessary knowledge and organize the disparate elements that make up the fascinating history of early court opera that enabled me to believe I could do it. I thank them, with deep gratitude and tremendous respect. TABLE OF CONTENTS PREFACE ................................................... -1 NOTES TO PREFACE .......................................... 14 INTRODUCTION: CONTEXTUAL CONCERNS PERTAINING TO EARLY OPERA Introduction .........................................17 Definitions .......................................... 20 The Theoretical Conception of Court Opera ............35 Theatre ............................................. .37 Dramatic Structure ................................... 38 Performance Space ........................e...........43 Setting ..............................................45 Machines ............................................. 47 Costumes ............................................. 52 Lighting ............................................ -54 Staging Practices .................................... 57 Acting and gesture ................................... 60 Court Performances at the Turn of the Seventeenth- Century .............................................. 65 Music ................................................ 67 Theatrical Dance. .................................... 77 Court Entertainments ................................. 97 The Medici Court and its Intemedi ................... 97 The Gonzaga Court and I1 pastor fido ................105 Conclusion .......................................... 112 Endnotes ............................................ 114 CHAPTER ONE: EARLY EXPERIMENTS IN MUSICAL THEATRE Introduction ........................................ 136 Jacopo Corsi ........................................ 140 Jacopo Peri ......................................... 143 Ottavio Rinuccini ................................... 145 La Dafne ............................................ 146 Emilio de' Cavalieri ................................ 161 Rappresentatione de Anima. et di Corpo .............. 165 Prologue ............................................ 168 Act One ............................................. 168 Act TWO ............................................. 170 Act Three ........................................... 175 Conclusion ..........................................180 CHAPTER TWO: COURT CELEBRATIONS IN FLORENCE IN 1600 Introduction ........................................ 194 Giulio Caccini ...................................... 196 Gabriello Chiabrera.... ............................. 200 The Art of Story Spoken in Song .....................201 The Production of Court Opera in 1600 ...............207 Reconstruction of the 1600 Performance of Euridice ..211 Prologue ............................................ 215 Scene One ...........................................217
Load more

Recommended publications
  • The Court Theatres of the Farnese from 1618 to 1690
    This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth­ or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’.
    [Show full text]
  • Frecent RESEARCHES in the MUSIC of the BAROQUE ERA
    fRECENT RESEARCHES IN THE MUSIC OF THE BAROQUE ERA. A-R EDITIONS UPDATED 2012 M/2/R238 V.1 CHARPENTIER, MARC-ANTOINE. JUDICIUM SALOMONIS. EDITED BY H. WILEY HITCHCOCK. V.2 TELEMANN, GEORG PHILIPP. FORTY-EIGHT CHORALE PRELUDES. EDITED BY ALAN THALER. V.3 KERLL, JOHANN CASPAR. MISSA SUPERBA. EDITED BY ALBERT C. GIEBLER. V.4 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART I: OPUS 5 , SONATAS I-V. EDITED BY ROBERT PRESTON. V.5 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART II: OPUS 5, VI-XII. EDITED BY ROBERT PRESTON. V.6 TEN EIGHTEENTH-CENTURY VOLUNTARIES. EDITED BY GWILYM BEECHEY. V.7 BOYCE, WILLIAMS. TWO ANTHEMS FOR THE GREGORIAN COURT. PART I: THE SOULS OF THE RIGHTEOUS. EDITED BY JOHN R. VAN NICE. V.8 BOYCE, WILLIAM. TWO ANTHEMS FOR THE GREGORIAN COURT. PART II: THE KING SHALL REJOICE. EDITED BY JOHN R. VAN NICE. V.9 CACCINI, GIULIO. LE NUOVE MUSICHE. EDITED BY H. WILEY HITCHCOCK. V.10 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, and 15. PART III: OPUS 9, SONATAS I-VI. EDITED BY ROBERT PRESTON. V.11 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART IV: OPUS 9, SONATAS VII-XII. OPUS 15, POSTHUMOUS SONATA. EDITED BY ROBERT E. PRESTON. V.12 EBERLIN, JOHANN ERNST. TE DEUM DIXIT DOMINUS MAGNIFICAT. EDIT BY REINHARD G. PAULY. V.13 AICHINGER, GREGOR. CANTIONES ECCLESIASTICAE. EDITED BY WILLIAM E. HETTRICK. V.14 LEGRENZI, GIOVANNI.
    [Show full text]
  • Mora Wade the RECEPTION of OPITZ's Ludith DURING the BAROQUE by Virtue of Its Status As the Second German Opera Libretto, Martin
    Mora Wade THE RECEPTION OF OPITZ'S lUDITH DURING THE BAROQUE By virtue of its status as the second German opera libretto, Martin Opitz's ludith (1635), has received little critical attention in its own right. l ludith stands in the shadow of its predecessor, Da/ne (1627),2 also by Opitz, as weH as in that of a successor, Harsdörffer and Staden's See/ewig (1644), the first German-Ianguage opera to which the music is extant today.3 Both libretti by Opitz, Dafne and ludith, are the earliest examples of the reception of Italian opera into German-speaking lands.4 Da/ne was based on the opera ofthe 1. Martin Opitz: ludith. Breslau 1635. See also Kar! Goedeke: Grund­ risz zur Geschichte der deutschen Dichtung. Vol. III. Dresden 1886. p. 48. Aversion of this paper was given at the International Conference on the German Renaissance, Reformation, and Baroque held from 4-6 April 1986 at the University of Kansas, Lawrence. Support from the Newberry Library in Chicago and from the National Endowment for the Humani­ ties to use the Faber du Faur Collection at the Beinecke Library of Yale University enabled me to undertake and complete this project. A special thanks to Christa Sammons, curator of the German collection at the Beinecke, for providing me with a copy of ludith. 2. Martin Opitz: Dafne. Breslau 1627. 3. Georg Philipp Harsdörffer: Frauenzimmer Gesprächspiele. Vol. IV. Nürnberg 1644. Opitz's 'ludith' has only three acts and has no extant music. Löwenstern's music to Tscherning's expanded version of Opitz's 'ludith' was not published until 1646, a full two years after 'Seelewig'.
    [Show full text]
  • Vezzosi A. Sabato A. the New Genealogical Tree of the Da Vinci
    HUMAN EVOLUTION Vol. 36 - n. 1-2 (1-90) - 2021 Vezzosi A. The New Genealogical Tree of the Da Vinci Leonardo scholar, art historian Family for Leonardo’s DNA. Founder of Museo Ideale Leonardo Da Vinci Ancestors and descendants in direct male Via IV Novembre 2 line down to the present XXI generation* 50059 Vinci (FI), Italy This research demonstrates in a documented manner the con- E-mail: [email protected] tinuity in the direct male line, from father to son, of the Da Vinci family starting with Michele (XIV century) to fourteen Sabato A. living descendants through twenty-one generations and four Historian, writer different branches, which from the XV generation (Tommaso), President of Associazione in turn generate other line branches. Such results are eagerly Leonardo Da Vinci Heritage awaited from an historical viewpoint, with the correction of the E-mail: leonardodavinciheritage@ previous Da Vinci trees (especially Uzielli, 1872, and Smiraglia gmail.com Scognamiglio, 1900) which reached down to and hinted at the XVI generation (with several errors and omissions), and an up- DOI: 10.14673/HE2021121077 date on the living. Like the surname, male heredity connects the history of regis- try records with biological history along separate lineages. Be- KEY WORDS: Leonardo Da Vinci, cause of this, the present genealogy, which spans almost seven Da Vinci new genealogy, ancestors, hundred years, can be used to verify, by means of the most living descendants, XXI generations, innovative technologies of molecular biology, the unbroken Domenico di ser Piero, Y chromosome, transmission of the Y chromosome (through the living descend- Florence, Bottinaccio (Montespertoli), ants and ancient tombs, even if with some small variations due burials, Da Vinci family tomb in Vinci, to time) with a view to confirming the recovery of Leonardo’s Santa Croce church in Vinci, Ground Y marker.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • LEONARDO, POLITICS and ALLEGORIES Marco Versiero
    LEONARDO, POLITICS AND ALLEGORIES Marco Versiero To cite this version: Marco Versiero. LEONARDO, POLITICS AND ALLEGORIES. De Agostini. 2010, Codex Atlanticus, 978-88-418-6391-6. halshs-01385250 HAL Id: halshs-01385250 https://halshs.archives-ouvertes.fr/halshs-01385250 Submitted on 21 Oct 2016 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Catalogo_Leonardo_04B@1000-1003 24-05-2010 11:45 Pagina 1 04 L’esposizione dei fogli del Codice Atlantico, The exhibition of folios from the Codex LEONARDO, LA POLITICA E LE ALLEGORIE l’incredibile raccolta di disegni Atlanticus, Leonardo da Vinci’s amazing LEONARDO, LA POLITICA di Leonardo da Vinci, vuole mettere collection of drawings, offers the public a disposizione del pubblico uno spaccato an authentic insight into the genius 04 E LE ALLEGORIE del genio del Maestro che, meglio of the great master. It was he, more than any DISEGNI DI LEONARDO DAL CODICE ATLANTICO di ogni altro, seppe intuire la connessione other, who perceived the interconnections fra le forze della natura e i benefici between the forces of nature and the benefits LEONARDO, POLITICS AND ALLEGORIES che l’umanità avrebbe potuto trarne.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • 3. Monody and Opera
    Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced
    [Show full text]
  • University of Oklahoma Graduate College Rhetoric
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By DANUR KVILHAUG Norman, Oklahoma 2016 RHETORIC AND GESTURE IN THE PERFORMANCE OF SEVENTEENTH-CENTURY VOCAL MUSIC A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jennifer Saltzstein, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Jeffrey Swinkin © Copyright by DANUR KVILHAUG 2016 All Rights Reserved. Table of Contents I. Introduction 1 II. Rhetoric in Quintilian’s Institutio Oratoria 5 - Music and Rhetoric in Institutio Oratoria 12 III. Rhetoric in Seventeenth and Eighteenth-Century Music Treatises 16 IV. Rhetoric in Performance 23 - Tempo and Meter 23 - Rhythm and Articulation 31 - Ornamentation 41 V. Case Studies 51 - Case Study 1 – “Or che’l ciel et la terra e’l vento tace” 52 - Case Study 2 – “Credo,” Missa Ego flos campi 66 - Case Study 3 —“Hor che tempo de dormire” 77 VI. Conclusion 90 Bibliography 93 Appendix – Scores 98 - Case Study 1 98 - Case Study 2 121 - Case Study 3 138 iv List of Figures Figure 1 – Homophonic rhythmic declamation in the first phrase of 35 “Domine Dominus Noster” v I. Introduction “Vocal and choral music in the seventeenth century are text centered. This may seem obvious, but it bears repeating.... Beyond good pronunciation, all subtleties of expressive singing—dynamic contrast, phrasing, variety of articulation, added embellishment—should be rooted in the performers’ comprehension of the text.”1 The above statement by Anne Harrington Heider underscores two simple concepts: performing the vocal music of the High Renaissance and Early Baroque requires intimate knowledge of its texts, and the clear transmission of textual meaning should be a singer’s primary goal.
    [Show full text]
  • Making Time in Music an International Conference 12–14 September 2016 Faculty of Music, University of Oxford
    Making Time in Music An international conference 12–14 September 2016 Faculty of Music, University of Oxford Draft schedule Monday 12 September Parallel sessions: A sessions will take place in the Denis Arnold Hall; B sessions will take place in Lecture Room A. Plenary sessions will take place in the Denis Arnold Hall. The poster session will take place in the JCR and the Committee Room. Tea and coffee breaks and lunches will be provided in the JCR and the Committee Room (included in registration fee). The conference dinner will take place on Monday 12 September at Pembroke College (pre- booking is required). 09:00 Registration (a welcome desk will be open in the Faculty reception area from 09:00) 11:00 Welcome 11:30– Session A1 Session B1 13:00 Interpersonal I Philosophy I Multimodal communication of time in Music as time, music as timeless ensemble performance Kristina Knowles (Northwestern Renee Timmers (University of Sheffield) University) Studying musicians’ gaze behaviour in the Politicking musical time light of synchronisation issues in ensemble Chris Stover (The New School) playing Sarah Vandemoortele, Stijn De Beugher, Geert Brône, Kurt Feyaerts, Toon Goedemé, Thomas De Baets, and Stijn Vervliet (LUCA School of Arts and KU Leuven) Coordination in vocal ensembles Distracted timekeeping Ryan Kirkbride (University of Leeds) Anthony Gritten (Royal Academy of Music) 13:00 Lunch 1 14:00– Session A2 Session B2 15:30 Psychology I MetreRhythmTempo I Timescales and temporal ranges: an enactive Tempo, drive and identity in Cape Breton and dynamic approach to temporality in traditional fiddle music musicking David Kirkland Garner Juan Loaiza (Queen’s University Belfast) (University of South Carolina) Ensemble performance from a systems- ‘Just in Time’: Herbert von Karajan as an theoretical perspective: opportunities and interpreter of Mozart’s Requiem challenges Karina Zybina Marc Duby (University of South Africa) (University Mozarteum, Salzburg) Rhythm in music: a comparative perspective Room for interpretation: musical tempo in John C.
    [Show full text]
  • Die Mythologischen Musikdramen Des Frühen 17. Jahrhunderts: Eine Gattungshistorische Untersuchung
    Die mythologischen Musikdramen des frühen 17. Jahrhunderts: eine gattungshistorische Untersuchung Dissertation zur Erlangung des Grades des Doctor der Philosophie (Dr. phil.) am Fachbereich Philosophie und Geisteswissenschaften der Freie Universität Berlin vorgelegt von Alessandra Origgi Berlin 2018 Erstgutachter: Prof. Dr. Bernhard Huss (Freie Universität Berlin) Zweitgutachter: Prof. Dr. Franz Penzenstadler (Eberhard Karls Universität Tübingen) Tag der Disputation: 18.07.2018 Danksagung Mein Dank gilt vor allem meinen beiden Betreuern, Herrn Prof. Dr. Bernhard Huss (Freie Universität Berlin), der mich stets mit seinen Anregungen unterstützt und mir die Möglichkeit gegeben hat, in einem menschlich und intellektuell anregenden Arbeitsbereich zu arbeiten, und Herrn Prof. Dr. Franz Penzenstadler (Eberhard Karls Universität Tübingen), der das Promotionsprojekt in meinen Tübinger Jahren angeregt und auch nach meinem Wechsel nach Berlin fachkundig und engagiert begleitet hat. Für mannigfaltige administrative und menschliche Hilfe in all den Berliner Jahren bin ich Kerstin Gesche zu besonderem Dank verpflichtet. Für die fachliche Hilfe und die freundschaftlichen Gespräche danke ich meinen Kolleginnen und Kollegen sowie den Teilnehmenden des von Professor Huss geleiteten Forschungskolloquiums an der Freien Universität Berlin: insbesondere meinen früheren Kolleginnen Maraike Di Domenica und Alice Spinelli, weiterhin Siria De Francesco, Dr. Federico Di Santo, Dr. Maddalena Graziano, Dr. Tatiana Korneeva, Thea Santangelo und Dr. Selene Vatteroni.
    [Show full text]
  • Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
    MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through
    [Show full text]