th Italian 17Journal xyz 2017; -and1 (2): 122–135 The First Decade (1964-1972) Research Articleth 18Max Musterman, -CenturyPaul Placeholder What Is So Different About Neuroenhancement? Was ist so anders am Neuroenhancement? DramaticPharmacological and Mental Self-transformation Works in Ethic Comparison Pharmakologische und mentale Selbstveränderung im ethischen Vergleich withhttps://doi.org/10.1515/xyz-2017-0010 Music, received February 9, 2013; accepted March 25, 2013; published online July 12, 2014 Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insightsWritten and profits for without the Clothing the and reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and theProfession presentation inCeremonies, its current with Special version. Their function as part of the literary portrayalReference and narrative to technique. Compositions Based on Keywords: Function, transmission, investigation, principal,the Book period of Judith* Dedicated to Paul Placeholder ANNA RYSZKA-KOMARNICKA 1 Studies and Investigations Institute of Musicology, University of Warsaw Email: [email protected] The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Materials*Max Musterman: for this article Institute were of Marine collected Biology, as part National of the Taiwan project Ocean ‘Księga University, Judyty 2 Pei-Ning w oratoriach włoskich epoki baroku Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] (1621-ok.Paul Placeholder: 1750)’ [‘InstituteThe ofBook Marine of Judith Biology, in National Italian Taiwan Baroque Ocean University,Oratorios, 2 Pei-Ning 1621–c. 1750’], financed by the Na- tionalRoad Science Keelung Centre 20224, PolandTaiwan (R.O.C), on the e-mail: basis [email protected] decision no. DEC-2011/01/B/HS2/04723. Journal xyz 2017; 1 (2): 122–135 Open Open Access. Access. © © 2020 2017 MustermannAnna Ryszka-Komarnicka, and Placeholder, publishedpublished by by De Sciendo. Gruyter. ThisThis work work is is licensed under the Creative Commonslicensed Attribution-NonCommercial-NoDerivatives under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. 4.0 License. The First Decade (1964-1972) Research Article Max Musterman, Paul Placeholder What Is So Different About Neuroenhancement? Was ist so anders am Neuroenhancement? Pharmacological and Mental Self-transformation in Ethic Comparison Pharmakologische und mentale Selbstveränderung im ethischen Vergleich https://doi.org/10.1515/xyz-2017-0010 received February 9, 2013; accepted March 25, 2013; published online July 12, 2014 Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insights and profits without the reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary portrayal and narrative technique. Keywords: Function, transmission, investigation, principal, period Dedicated to Paul Placeholder 1 Studies and Investigations The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Max Musterman: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Paul Placeholder: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Open Access. © 2017 Mustermann and Placeholder, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Italian 17th- and 18th-Century Dramatic Works with Music, Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith Musicology Today • Vol. 17 • 2020 DOI: 10.2478/muso-2020-0004 include: nine rappresentazioni sacre and sixty-two non- stage compositions (oratorios, in some cases dialogues ABSTRACT or cantatas), written in the years 1621-1764. Some of them were performed and disseminated in print many Late 16th- and early 17th-century Italian theatrical works (with or times (altogether I have found nearly 140 such recorded without music) based on the Book of Judith are perceived as associated instances). My list omits the numerous settings of with women, who acted as their performers (in female monasteries), Metastasio’s oratorio La Betulia liberata, except for its dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, first Viennese premiere with music by Georg Reutter 2 which evolved in the circles of religious and lay congregations, in Jr (1734) . This event, on the one hand, summed up which women were either marginalised or altogether excluded. The some of the trends in the manner the Book of Judith had link between women and the oratorio genre was thus maintained only been used in Italian Baroque oratorios. On the other, it in the case of the so-called palace oratorios. Oratorios did not gain a opened a new chapter in the history of such adaptations, solid footing in the music life of female religious orders, either. Their th th presence mainly made itself felt in the space suspended between the which lasted until the late 18 /early 19 centuries, monastic and secular worlds, namely, in the context of the ceremonies and musically already belonged to a different era. The of clothing and profession, which were celebrated with performances of popularity of Betulia led to a reduction in the number cantatas, dialogues, or oratorios. A survey of such repertoire from the of new libretti on this subject written in the Italian th th 17 and 18 centuries has revealed an astonishing wealth of subjects Peninsula. Only a few of them appeared in 1734-1764, and approaches: allegorical works, saints’ lives, Old Testament stories praising parents who offered their children up to God, happy weddings, and this was followed by nearly 20 years in which Italian or the deeds of extraordinary women. The Book of Judith occupies an authors abandoned the theme altogether. important place among the latter subjects, which emphasised the fides Relatively few (only c. 20%) of these events were and fortitudo of those entering monastic life. Existing works (such as related to the intention of honouring women or satisfying Metastasio’s Betulia) were also sometimes used. Some texts were written their artistic interests3. Hitherto research into the ways specially for such occasions, and they demonstrate individual qualities. th Metastasio’s solemn and exalted model was followed even in such small- this topic was exploited in the Italian art of the late 16 th scale pieces as the Florentine componimento sacro Giuditta of 1750. The and early 17 centuries suggests there should be more rappresentazione La Giuditte (1621) depicts the strength of faith not such cases. It has been indicated by researchers that the only of Judith herself, but also (contrary to the Biblical account) – of theatrical repertoire based on the Book of Judith (including the Bethulian society as an allegory of Bologna and its inhabitants. texts set to music in their entirety, such as the Florentine La Comic elements were smuggled into the Paduan oratorio Giuditta (1735). To sum up, dramatic works with music based on the Book of Juditta by librettist Andrea Salvadori and composer Marco Judith, written for the ceremonies of women entering the monastery, da Gagliano, 1626) was particularly closely associated which have hitherto remained marginal to academic research, represent with the culture of female monasteries and the patronage a promising field for further studies. of rich and powerful women, some of whom even held the helm of the state4. Such repertoire was a convenient Key words: Book of Judith, Italian oratorio, female monasteries, clothing ceremony, profession ceremony the Book of Judith (1621–1764), Meant for Performance with SEVERAL COMMENTS ON THE BOOK OF Musical Settings’], Warszawa, Instytut Muzykologii UW, 2017, pp. 451–529 (the list in the Appendix also includes several JUDITH, WOMEN, AND ORATORIOS pieces by non-Italian authors who had very close links to Italy). 2 For a list of musical settings and performances of Betulia, cf. M. In the Baroque, the Book of Judith was a highly Valente, ‘Introduzione’, in P. Anfossi, Betulia liberata, G. Pelliccia popular source of religious motifs taken up in the fine (ed.), Roma, MOS edizioni, 2008, pp. XI–XXIX. arts, literature, and music. In Italian repertoires alone, I 3 For a list of such works, cf. Ryszka-Komarnicka, Księga have been able to identify 71 different dramatic works Judyty…, pp. 440–442. on these themes, written in lingua volgare or latina, and 4 E. Weaver, Convent Theatre in Early Modern Italy: Spiritual Fun meant for performance with musical settings1. These and Learning for Women, Cambridge, Cambridge University Press, 2002 (especially at pp. 141–148); K. Harness, Echoes of Women’s Voices: Music, Arts and Female Patronage in Early Modern 1 Cf. A. Ryszka-Komarnicka, Księga Judyty w oratoriach włoskich Florence,