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Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
Evirati Cantori E Mondo Nobiliare: Un Contributo Allo Studio Delle Dinamiche Sociali Dell'italia Barocca
Alessandro Cont EVIRATI CANTORI E MONDO NOBILIARE: UN CONTRIBUTO ALLO STUDIO DELLE DINAMICHE SOCIALI DELL’ITALIA BAROCCA Abstract - In the late 17th century, the Castrati are a familiar presence for the aristocrats of the Italian Peninsula, who usually enjoy their singing and in various circumstances exercise the functions of playwrights and organizers of musical events. However, the ability as singers and the ‘self-promotional’ talent can raise the status of some «musici» and introduce then into the same noble class, although the social ascent is not entirely undisputed and free of any risk for a Castrato of the Baroque period. Key words - Castrati; Nobility; Italy; Baroque Age. Riassunto - Nel tardo XVII secolo, i castrati sono una presenza familiare per gli aristo- cratici della Penisola italiana, che abitualmente fruiscono il loro canto e in varie circostanze esercitano le funzioni di drammaturghi e di organizzatori di eventi musicali. Tuttavia, l’abilità canora e il talento ‘autopromozionale’ possono elevare lo status di alcuni «musici» e introdurli nello stesso ceto nobiliare, sebbene l’ascesa sociale non sia del tutto incontrastata ed esente da rischi per un castrato del periodo barocco. Parole chiave - Castrati; Nobiltà; Italia; Età barocca. Ringrazio sentitamente Paologiovanni Maione, Anna Manfron, Isabel M. Rodríguez- Marco, Diana Tura e Vera Laura Verona per la generosa assistenza prestata alla mia ricerca. Abbreviazioni: AP = Archivio Pepoli; ASB = Archivio di Stato di Bologna; ASE = Archivio Segreto Estense; ASF = Archivio di Stato di Firenze; AG = Archivio Gonzaga; AMP = Archivio Mediceo del Principato; I-Bc = Museo internazionale e biblioteca della musica di Bologna; ASMn = Archivio di Stato di Mantova; ASMo = Archivio di Stato di Modena; ASP = Archivio di Stato di Parma; CFBE = Carteggio farnesiano e borbonico estero; DBI = Dizionario Biografi co degli Italiani. -
Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee 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 Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Albanian Families' History and Heritage Making at the Crossroads of New
Voicing the stories of the excluded: Albanian families’ history and heritage making at the crossroads of new and old homes Eleni Vomvyla UCL Institute of Archaeology Thesis submitted for the award of Doctor in Philosophy in Cultural Heritage 2013 Declaration of originality I, Eleni Vomvyla confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signature 2 To the five Albanian families for opening their homes and sharing their stories with me. 3 Abstract My research explores the dialectical relationship between identity and the conceptualisation/creation of history and heritage in migration by studying a socially excluded group in Greece, that of Albanian families. Even though the Albanian community has more than twenty years of presence in the country, its stories, often invested with otherness, remain hidden in the Greek ‘mono-cultural’ landscape. In opposition to these stigmatising discourses, my study draws on movements democratising the past and calling for engagements from below by endorsing the socially constructed nature of identity and the denationalisation of memory. A nine-month fieldwork with five Albanian families took place in their domestic and neighbourhood settings in the areas of Athens and Piraeus. Based on critical ethnography, data collection was derived from participant observation, conversational interviews and participatory techniques. From an individual and family group point of view the notion of habitus led to diverse conceptions of ethnic identity, taking transnational dimensions in families’ literal and metaphorical back- and-forth movements between Greece and Albania. -
Paradise Lost and Pullman's His Dark Materials
Mythic Rhetoric: Influence and Manipulation in Milton's Paradise Lost and Pullman's His Dark Materials Rhys Edward Pattimore A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Masters by Research Department of Interdisciplinary Studies MMU Cheshire 2015 1 Declaration I declare that this is my own work, that I have followed the code of academic good conduct and have sought, where necessary, advice and guidance on the proper presentation of my work. Printed Name: Signature: 2 Acknowledgments For my family and friends: without your love, support and patience I could not have hoped to achieve what I have. I love you all. To my tutors; I cannot thank you enough; I’m eternally grateful for your never-ending encouragement and invaluable assistance throughout the year. Finally, to the authors who have influenced my writing: their stories are my inspiration and without them, this simply would not have happened. 3 Contents Page - Abstract Page 5 - Note on Abbreviations Page 6 - Introduction Page 7 - Chapter One Page 26 - Chapter Two Page 43 - Chapter Three Page 78 - Conclusion Page 119 - Glossary of Rhetorical Terms Page 125 - Appendix: Quotations Page 129 - Bibliography Page 135 4 Abstract John Milton’s Paradise Lost and Philip Pullman’s His Dark Materials are two grand feats of mythic storytelling. Through their compelling stories, reinforced by influential rhetoric, each possesses the ability to affect individuals who read them. These myths work to influence their audiences without the author’s own personal beliefs being forced upon them (such as Milton’s scathing condemnation of certain styles of poetry, or Pullman’s overtly critical view of Christianity). -
Epic to Novel
EPIC TO NOVEL THOMAS E. MARESCA Epic to Novel OHIO STATE UNIVERSITY PRESS Copyright® 1974 by the Ohio State University Press All Rights Reserved. Manufactured in the United States of America Portions of the chapter entitled "Dryden11 appeared in the summer 1974 issue ofELH under the title "The Context of Dryden's Absalom and Achitophel." Library of Congress Cataloging in Publication Data Mare sea, Thomas E Epic to Novel Bibliography: p. 1. English fiction — Early modern, 1500-1700 — History and criticism. 2. Epic poetry. English — History and criticism. I. Title. PR769.M3 823\03 74-19109 ISBN 0-8142-0216-0 ISBN 0-8142-0289-6 Original hard-cover edition 3 March 1975 Paperback reprint issued May 1977 FOR DIANE CONTENT S Preface ix Dryden 3 Pope 79 Swift 135 Fielding 181 List of Texts Cited 235 Index 237 PREFACE This book attempts to trace the process by which the novel replaced the epic as the major literary form in English. It explores the hows and whys of this process by an analysis of the subject matter of epic rather than its form or manner; that is, it attempts to find out what post-classical readers understood when they read epic by examination of major commentaries on Virgil's Aeneid from the early Middle Ages through the Renaissance. After that it proceeds to the same goal by close reading of major English literary works that bear a parodic relation to epic. I understand the epic tradition this book talks about as a heterogeneous body of materials growing from a single root, always changing and transforming them selves, but changing in ways and directions indicated by their earliest shaping. -
Pedigree of the Wilson Family N O P
Pedigree of the Wilson Family N O P Namur** . NOP-1 Pegonitissa . NOP-203 Namur** . NOP-6 Pelaez** . NOP-205 Nantes** . NOP-10 Pembridge . NOP-208 Naples** . NOP-13 Peninton . NOP-210 Naples*** . NOP-16 Penthievre**. NOP-212 Narbonne** . NOP-27 Peplesham . NOP-217 Navarre*** . NOP-30 Perche** . NOP-220 Navarre*** . NOP-40 Percy** . NOP-224 Neuchatel** . NOP-51 Percy** . NOP-236 Neufmarche** . NOP-55 Periton . NOP-244 Nevers**. NOP-66 Pershale . NOP-246 Nevil . NOP-68 Pettendorf* . NOP-248 Neville** . NOP-70 Peverel . NOP-251 Neville** . NOP-78 Peverel . NOP-253 Noel* . NOP-84 Peverel . NOP-255 Nordmark . NOP-89 Pichard . NOP-257 Normandy** . NOP-92 Picot . NOP-259 Northeim**. NOP-96 Picquigny . NOP-261 Northumberland/Northumbria** . NOP-100 Pierrepont . NOP-263 Norton . NOP-103 Pigot . NOP-266 Norwood** . NOP-105 Plaiz . NOP-268 Nottingham . NOP-112 Plantagenet*** . NOP-270 Noyers** . NOP-114 Plantagenet** . NOP-288 Nullenburg . NOP-117 Plessis . NOP-295 Nunwicke . NOP-119 Poland*** . NOP-297 Olafsdotter*** . NOP-121 Pole*** . NOP-356 Olofsdottir*** . NOP-142 Pollington . NOP-360 O’Neill*** . NOP-148 Polotsk** . NOP-363 Orleans*** . NOP-153 Ponthieu . NOP-366 Orreby . NOP-157 Porhoet** . NOP-368 Osborn . NOP-160 Port . NOP-372 Ostmark** . NOP-163 Port* . NOP-374 O’Toole*** . NOP-166 Portugal*** . NOP-376 Ovequiz . NOP-173 Poynings . NOP-387 Oviedo* . NOP-175 Prendergast** . NOP-390 Oxton . NOP-178 Prescott . NOP-394 Pamplona . NOP-180 Preuilly . NOP-396 Pantolph . NOP-183 Provence*** . NOP-398 Paris*** . NOP-185 Provence** . NOP-400 Paris** . NOP-187 Provence** . NOP-406 Pateshull . NOP-189 Purefoy/Purifoy . NOP-410 Paunton . NOP-191 Pusterthal . -
Giovanni Battista Contini
Giovanni Battista Contini Italian architect of the Late Baroque period (1641-1723) Son of Francesco and Agata Baronio was born in Rome on May 7, 1642. He had the first training of an architect by his father who "nobility educated him and sent to all the schools to which the nobles were subjected", but he also perfected under Gian Lorenzo Bernini. He was so attached to the great master that he would assist him to death and to have a portrait of him "printed on canvas with black frame". The first important commission of CONTINI to be known seems to be the erection of the catafalco for Alexander VII (1667). arrived through Bernini. In Rome, in addition to carrying out practical duties such as those of measuring and architect of the Apostolic Chamber and Architect of the Virgin Water, in which he succeeded Bernini (1681-1723), he dedicated himself particularly to the erection of family chapels and altars; but his main activity soon moved to different places and often far from Rome, and yet in the papal state. Three years after the death of Bemini, in 1683, CONTINI became principal of the Accademia di S. Luca, succeeding Luigi Garzi in a prestigious duty function as indicative of the professional stature he had reached at that time. In the Academy, however, he was disappointed, demonstrating in a way too obvious that his interest focused on practicing the profession. In 1696 he was judged in the banned competition on the occasion of the first centenary of the Academy, but no other activities for this institution were known until 1702, when he worked as an instructor Along with Francesco Fontana, Sebastiano Cipriani, Carlo Buratti and Carlo Francesco Bizzaccheri. -
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AVVERTENZA 11 lavoro, nato come inventario di un « fondo » dell Archivio di Stato geno vese a fini essenzialmente archivistici e non storici, risente di questa sua origine nella rigorosa limitazione dei regesti a quel fondo, pur ricostruito sulla base dell’ordine cronologico dei documenti, e nella sobrietà discreta dei singoli re gesti. Del pari la bibliografia non vuol essere un repertorio critico e non intende richiamare tutte le edizioni comunque eseguite dei diversi atti, ma limita i riferim enti alle edizioni principali, apparse nelle raccolte sistematiche più comu nem ente accessibili, ed a quanto fu pubblicalo del codice diplomatico dell Im periale. Si è ritenuta peraltro utile anche una serie di riferimenti agli Annali di Caffaro e Continuatori per i passi in cui si ricordano i fatti significati dai docum enti del fondo. Il lettore d’altra parte facilmente rileverà che tale appa rato si riferisce con larga prevalenza ai secoli del Medio Evo; il che rappresenta un fatto pieno di significato, anche se la serie dei richiami, come si è detto, e largamente incompleta. Gli indici, alla cui redazione ha direttamente collaborato, col dott. Liscian- drelli ed il dott. Costamagna, anche il Segretario prof. T.O. De Negri, che ha cu rato l’edizione, si riferiscono strettamente ai nomi riportati nei Regesti, ove spesso, per ovvie ragioni, i nominativi personali sono suppliti da richiami anoni mi o da titoli generici (re, pontefice1, imperatore...). Essi hanno quindi un valore indicativo di massima e non possono esaurire la serie dei riferimenti. Per m aggior chiarezza diamo di seguito, col richiamo alle sigle e nell or dine alfabetico delle sigle stesse, l’elenco delle pubblicazioni utilizzate. -
Patronage and Dynasty
PATRONAGE AND DYNASTY Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES General Editor MICHAEL WOLFE Pennsylvania State University–Altoona EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF MAX REINHART Boston University University of Georgia PAULA FINDLEN SHERYL E. REISS Stanford University Cornell University SCOTT H. HENDRIX ROBERT V. SCHNUCKER Princeton Theological Seminary Truman State University, Emeritus JANE CAMPBELL HUTCHISON NICHOLAS TERPSTRA University of Wisconsin–Madison University of Toronto ROBERT M. KINGDON MARGO TODD University of Wisconsin, Emeritus University of Pennsylvania MARY B. MCKINLEY MERRY WIESNER-HANKS University of Virginia University of Wisconsin–Milwaukee Copyright 2007 by Truman State University Press, Kirksville, Missouri All rights reserved. Published 2007. Sixteenth Century Essays & Studies Series, volume 77 tsup.truman.edu Cover illustration: Melozzo da Forlì, The Founding of the Vatican Library: Sixtus IV and Members of His Family with Bartolomeo Platina, 1477–78. Formerly in the Vatican Library, now Vatican City, Pinacoteca Vaticana. Photo courtesy of the Pinacoteca Vaticana. Cover and title page design: Shaun Hoffeditz Type: Perpetua, Adobe Systems Inc, The Monotype Corp. Printed by Thomson-Shore, Dexter, Michigan USA Library of Congress Cataloging-in-Publication Data Patronage and dynasty : the rise of the della Rovere in Renaissance Italy / edited by Ian F. Verstegen. p. cm. — (Sixteenth century essays & studies ; v. 77) Includes bibliographical references and index. ISBN-13: 978-1-931112-60-4 (alk. paper) ISBN-10: 1-931112-60-6 (alk. paper) 1. -
Il FLORIDANTE Tra L'amadigi E Il RINALDO
I Università di Pisa a.a. 2005-2007 TESI DI DOTTORATO IN LETTERATURA ITALIANA Il FLORIDANTE tra l’ AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino CANDIDATO ROSANNA SIMONA MORACE RELATORE PROF . PIERO FLORIANI IL PRESIDENTE PROF . M.C. CABANI CORELATORE PROF . SERGIO ZATTI II Alle mie stelle in cielo (Mikie compresa), ai miei angeli custodi in terra (Galatina compresa). Ringrazio con molto affetto il Prof. Piero Floriani per la disponibilità, la gentilezza e l’onestà con la quale mi ha seguito, da maestro, in tutti questi anni. Un altro sentito gra- zie va al Prof. Livio Petrucci, per i preziosi consigli ed il tempo dedicatomi nonostante non fosse tra i tutori del mio percorso. Un caldo abbraccio, poi, per il Prof. Carlo Alber- to Madrignani, che con la sua divertente saggezza è stato per me come un nonno; ed al Prof. Giancarlo Bertoncini, discreto, silenzioso, ma altrettanto vicino ed umanamente disponibile. Ancora un grazie al mio papà, che pur da lontano mi è stato sempre vicino. III VOL . I Il FLORIDANTE tra l’AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino I) TRA VENEZIA E MANTOVA (1558-1569) pp. 1-44 L’epilogo del Tasso; l’esordio del Tassino. II ) TRA EPICA E ROMANZO (1543-1560) pp. 45-83 1) L’ Amadigi ‘epico’ e il rapporto con l’ Amadìs , pp. 45-64. 2) La ‘riforma romanzesca’ e l’ Amadigi ‘molteplice’, pp. 65-72 3) La Prefazione all’ Amadigi di Lodovico Dolce, pp. 72-83 III ) TRA ROMANZO ED EPICA (1556-1560) pp.