This volume surveys musical life in 16th-century Venice in the context of broader developments in society and institutions, through 18 essays on musical institutions like the San Marco chapel, the confraternities, the academies, and parish, monastic, and nunnery churches; music in the public and private sphere, including ceremonial life and salons and ridotti; musical actors like chapel masters, professional singers, instrumentalists and instrument makers, music printers and publishers, and music theorists; and genres, styles, and cross-cultural traditions like double-choir music, the frottola
, instrumental music, polyphony, Jewish art music, and musical ties to Istria and Dalmatia.
Chapter 3 uses Josquin as a pivot to transition to discussion of the chanson and other secular vocal music, such as the lieder and frottola
. Alwes spends the bulk of this chapter on Italian and English madrigals, using Cipriano de Rore, Carlo Gesualdo, and Thomas Weelkes as representative composers of the genre.
canzone, cultura popolare urbana, frottola
, melodia accompagnata, musica italiana, musica rinascimentale, pop, popular music, villanella
He examines Botticelli's idealised female beauties and so-called mythological canvases in the light of popular poetry and classical models' canons of female beauty: Luigi Pulci's wonderful frottola
describing the contents of two galleys carrying ladies' wardrobes to a villa retreat outside Florence, for example, and Politian's descriptions of the Venus Anadyomene.
We also heard the premiere of Julian Philips' busy, testing and organically unified Love Songs of Amy Lowell, and Sonnet III "Alla Luna" by the eminent Lithuanian composer Zita Bruzaite, clearly and simply structured, Howells' radiant soprano joined by deft oboist Helen Barker in the evocation of a medieval Italian frottola
as Watkins continued to supply well-weighted accompaniments coloured by a composer's empathy.
The yearling in question, a SARLconsigned filly out of the Listed-winning Muhtarram mare Frottola
from the family of Nashmiah and Royal Ballerina, was the subject of a bidding war between trainer Bruno Grizzetti and breeder Luciano Salice.
While most of the chansons and motets appear in other sources, eleven of the forty-five Italian pieces are unica, which makes the manuscript an important source of Italian-texted works at a moment of stylistic transition between the frottola
and the emergence of the madrigal around 1525.
Following on from work concentrating on female patronage in the fields of musicology and art history, found, for instance, in the publications of William Prizer and Cynthia Lawrence, Kelley Harness examines the women's use of music, spectacles, theatre, and art in order to validate and reinforce their position (William Prizer, "Isabella d'Este and Lucrezia Borgia as Patrons of Music: The Frottola
at Mantua and Ferrara," Journal of the American Musicological Society 38 (1985): 1-33; Cynthia Lawrence, ed., Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs, University Park, PA: Pennsylvania State UP, 1997).
Sacchetti, who appears to be fascinated by the rich Florentine vocabulary even in his prose, had done this in both the sonnet ('Nasi cornuti e visi digrignati' ) and the frottola
form, in his famous poem' La lingua nova'.
(18) The only important exception I can think of is the frottola
and its relatives; W.