Deborah Howard and Laura Moretti (eds)
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265055
- eISBN:
- 9780191754166
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265055.001.0001
- Subject:
- Music, History, Western
This book investigates the use of secular space for music-making in Early Modern France and Italy. This era is remarkable for the growing importance of music in domestic life, ranging from elaborate ...
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This book investigates the use of secular space for music-making in Early Modern France and Italy. This era is remarkable for the growing importance of music in domestic life, ranging from elaborate court festivities to family recreation. In parallel with the emergence of the theatre as a separate building type, music-making in elite circles became more specialised through the employment of paid musicians, as opposed to amateur participation by the inhabitants and their guests. Meanwhile, however, music printing and the mass-production of instruments, especially lutes, allowed music-making to diffuse down the social scale. The book shows how spaces specifically designed for music began to appear in private dwellings, while existing rooms became adapted for the purpose. At first, the number of rooms specifically identifiable as ‘music rooms’ was very small, but gradually, over the following 150 years, specialised music rooms began to appear in larger residences in both France and Italy. A major theme of the book is the relationship between the size and purpose of the room and the kinds of music performed – depending on the size, portability and loudness of different instruments; the types of music suited to spaces of different dimensions; the role of music in dancing and banqueting; and the positions of players and listeners. Musical instruments were often elaborately decorated to become works of art in their own right.Less
This book investigates the use of secular space for music-making in Early Modern France and Italy. This era is remarkable for the growing importance of music in domestic life, ranging from elaborate court festivities to family recreation. In parallel with the emergence of the theatre as a separate building type, music-making in elite circles became more specialised through the employment of paid musicians, as opposed to amateur participation by the inhabitants and their guests. Meanwhile, however, music printing and the mass-production of instruments, especially lutes, allowed music-making to diffuse down the social scale. The book shows how spaces specifically designed for music began to appear in private dwellings, while existing rooms became adapted for the purpose. At first, the number of rooms specifically identifiable as ‘music rooms’ was very small, but gradually, over the following 150 years, specialised music rooms began to appear in larger residences in both France and Italy. A major theme of the book is the relationship between the size and purpose of the room and the kinds of music performed – depending on the size, portability and loudness of different instruments; the types of music suited to spaces of different dimensions; the role of music in dancing and banqueting; and the positions of players and listeners. Musical instruments were often elaborately decorated to become works of art in their own right.
Robert Adlington (ed.)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780197265390
- eISBN:
- 9780191760440
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265390.001.0001
- Subject:
- Music, History, Western
With the establishment of the People's Republic of China in 1949, a third of the world's population came to live under communist regimes. Over the next forty years, the lives of most people in the ...
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With the establishment of the People's Republic of China in 1949, a third of the world's population came to live under communist regimes. Over the next forty years, the lives of most people in the non-communist world were also shaped in some way by communism and the Cold War waged against it. In the cases of many artists, intellectuals, and workers, this involvement was wished and active. Yet while the left-leaning tendencies of western artists have long been recognized, the extent and depth of musicians' involvement in communism specifically has been largely ignored, suppressed, or dismissed as youthful infatuation. This book offers a representative overview of the relation of music and communism outside the communist bloc. Ranging across multiple musical genres, five continents, and seven decades, the nineteen chapters address both prominent musicians who aligned themselves with communism, and the investments in music of a range of communist and radical Marxist organizations (including national Communist Parties, the Black Panther Party, and Maoist and Trotskyist groups in Britain, Germany, and Nepal). In the book's first section, five musicians (Giacomo Manzoni, Ernie Lieberman, Konrad Boehmer, Chris Cutler, and Georgina Born) offer their own, more personal perspectives upon their engagement with communism. The volume as a whole highlights two ‘red strains’ in particular: the irreducible differences of opinion between communists regarding key debates concerning music's role in society; and the multiple challenges faced by every engaged musician in reconciling political and artistic agendas.Less
With the establishment of the People's Republic of China in 1949, a third of the world's population came to live under communist regimes. Over the next forty years, the lives of most people in the non-communist world were also shaped in some way by communism and the Cold War waged against it. In the cases of many artists, intellectuals, and workers, this involvement was wished and active. Yet while the left-leaning tendencies of western artists have long been recognized, the extent and depth of musicians' involvement in communism specifically has been largely ignored, suppressed, or dismissed as youthful infatuation. This book offers a representative overview of the relation of music and communism outside the communist bloc. Ranging across multiple musical genres, five continents, and seven decades, the nineteen chapters address both prominent musicians who aligned themselves with communism, and the investments in music of a range of communist and radical Marxist organizations (including national Communist Parties, the Black Panther Party, and Maoist and Trotskyist groups in Britain, Germany, and Nepal). In the book's first section, five musicians (Giacomo Manzoni, Ernie Lieberman, Konrad Boehmer, Chris Cutler, and Georgina Born) offer their own, more personal perspectives upon their engagement with communism. The volume as a whole highlights two ‘red strains’ in particular: the irreducible differences of opinion between communists regarding key debates concerning music's role in society; and the multiple challenges faced by every engaged musician in reconciling political and artistic agendas.
Free Will and Modern Science
The Schweich Lectures and Biblical Archaeology
Mexico City through History and Culture
Continuity and Innovation in Medieval and Modern Philosophy
Names are Thicker than Blood
Rationalism, Platonism and God
Bayes's Theorem
The Arguments of Time
Handbook of Jewish Literature from Late Antiquity, 135–700 CE
