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OverviewDr Fenlon explores the role music played in the cultural, religious, and political upheavals of late Renaissance Italy, revealing how musical activity of all kinds was instrumentalized by those in power. Focusing on the second half of the sixteenth century - a period still often regarded as one of decline and degeneration after the achievements of the Quattrocento and before the calamità d'Italia - the author argues that Italian culture did not lose its vigour after 1530, but underwent a transformation, as both individuals and institutions reacted to new economic, political, and religious circumstances. Full Product DetailsAuthor: Iain Fenlon (, Reader in Historical Musicology, University of Cambridge)Publisher: Oxford University Press Imprint: Oxford University Press Dimensions: Width: 16.20cm , Height: 2.20cm , Length: 24.20cm Weight: 0.635kg ISBN: 9780198164449ISBN 10: 0198164440 Pages: 282 Publication Date: 05 December 2002 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsList of Illustrations List of Plans List of Abbreviations 1: Magnificence as Civic Image: Music and Ceremonial Space in Early Modern Venice 2: Strangers in Paradise: Dutchmen in Venice in 1525 3: Music and Reform: The Savonarolan Legacy 4: Music and Civic Piety in Counter-Reformation Milan Appendix: The Tini Broadside Catalogue of c. 1596 5: Scipione Gonzaga: A 'Poor' Cardinal in Rome 6: Gioseffo Zarlino and the Accademia Venetiana della Fama 7: Lepanto: Music, Ceremony, and Celebration in Counter-Reformation Rome 8: Rites of Passage: Cosimo I de' Medici and the Theatre of Death 9: Giaches de Wert and the Palatine Basilica of Santa Barbara: Music, Liturgy, and Design 10: Preparations for a Princess: Florence, 1588-1589 Bibliography IndexReviewsFortunately few reviewers,if any, would find Ian Fenlon's book hard to read, since his arguments are expressed in a graceful propse that renders his subject matter entirely accessible to readers.. . . Fenlon has established himself, over two decaed, as one of the ablest practiotioners in historical musicologyand multidisciplinary studies. . . .produces rich, provocative results for readers. . .coleagues from other disciplines interested in the place of music in early modern Italian society could hardly do better than consult Fenlon's stimulating and evocative essays. . . .Fenlon's essays exemplify and unusually creative immaginative engagement with musico-historical materials. As offerings not only to fellow musicologists but also to those in allied disciplines, they are among the finest examples of the discipline's art and craft; they are recommended with uncommon enthusiasm/sAnthony M. Cummings?/d 11/08/05 ... the richness and diversity of his field of vision become that much more obvious and valuable when some of his previously dispersed papers are encountered together in a single volume, as they are here. Early Music In the age of the Counter-Reformation, the streets, squares, palaces, courts, churches, nunneries, and Italian academies resounded with all kinds of music. Using an evocative mental technique similar to Ignatius of Loyolas visual composition of place, Iain Fenlon vividly reconstructs before our eyes the spaces and times of music, understood as a sounding sign of power, an allegory of celestial harmony, an image of antique myths, a celebration of the Deity, a stimulus to private devotion, and a symbol of collective identity. Lorenzo Bianconi, University of Bologna Fortunately few reviewers,if any, would find Ian Fenlon's book hard to read, since his arguments are expressed in a graceful propse that renders his subject matter entirely accessible to readers.. . . Fenlon has established himself, over two decaed, as one of the ablest practiotioners in historical musicologyand multidisciplinary studies. . . .produces rich, provocative results for readers. . .coleagues from other disciplines interested in the place of music in early modern Italian society could hardly do better than consult Fenlon's stimulating and evocative essays. . . .Fenlon's essays exemplify and unusually creative immaginative engagement with musico-historical materials. As offerings not only to fellow musicologists but also to those in allied disciplines, they are among the finest examples of the discipline's art and craft; they are recommended with uncommon enthusiasm/sAnthony M. Cummings?/d 11/08/05 Author InformationIain Fenlon is Reader in Historical Musicology at the University of Cambridge and the editor of Early Music History. His publications include: Music and Patronage in Sixteenth-Century Mantua; The Early Sixteenth Century Madrigal (with James Haar); The Song of the Soul: Understanding 'Poppea' (with Peter Miller); Music, Print and Culture in Renaissance Italy; and Music, Ceremony and Identity in Counter-Reformation Venice (forthcoming, Yale University Press). Tab Content 6Author Website:Countries AvailableAll regions |
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