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The Music Room in Early Modern France and ItalySound, Space and Object$
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Deborah Howard and Laura Moretti

Print publication date: 2012

Print ISBN-13: 9780197265055

Published to British Academy Scholarship Online: January 2013

DOI: 10.5871/bacad/9780197265055.001.0001

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PRINTED FROM BRITISH ACADEMY SCHOLARSHIP ONLINE (www.britishacademy.universitypressscholarship.com). (c) Copyright British Academy, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in BASO for personal use.date: 14 October 2019

The Place of Music in the Artist’s Home

The Place of Music in the Artist’s Home

Chapter:
(p.50) (p.51) 3 The Place of Music in the Artist’s Home
Source:
The Music Room in Early Modern France and Italy
Author(s):

TRACY E. COOPER

Publisher:
British Academy
DOI:10.5871/bacad/9780197265055.003.0004

Visual representation of instruments and musical practice has long been integral to the study of the iconology and archaeology of early music. Critical to any assessment of such evidence is an understanding of the authority of the artist, and his/her knowledge and degree of participation in musical culture. Contemporary sources reveal that music played a variety of roles in the lives and public perception of the Renaissance artists. Its most tangible manifestation was that of the artist-musician, of whom Leonardo da Vinci is one of the best-known examples. An association with courtliness was one of several markers of status conferred by musical practice. This chapter investigates the domestic setting of the artist, whether in a courtly environment or in a republic, to develop themes of the social elevation of the artist, entertainment and performance, as well as creativity.

Keywords:   artists' houses, Renaissance, musicians, social status, musical instruments, Italy

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