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Through forty-five creative and concise essays by an international
team of authors, this Cambridge History brings the fifteenth
century to life for both specialists and general readers. Combining
the best qualities of survey texts and scholarly literature, the
book offers authoritative overviews of central composers, genres,
and musical institutions as well as new and provocative
reassessments of the work concept, the boundaries between
improvisation and composition, the practice of listening, humanism,
musical borrowing, and other topics. Multidisciplinary studies of
music and architecture, feasting, poetry, politics, liturgy, and
religious devotion rub shoulders with studies of compositional
techniques, musical notation, music manuscripts, and reception
history. Generously illustrated with figures and examples, this
volume paints a vibrant picture of musical life in a period
characterized by extraordinary innovation and artistic achievement.
Through forty-five creative and concise essays by an international
team of authors, this Cambridge History brings the fifteenth
century to life for both specialists and general readers. Combining
the best qualities of survey texts and scholarly literature, the
book offers authoritative overviews of central composers, genres,
and musical institutions as well as new and provocative
reassessments of the work concept, the boundaries between
improvisation and composition, the practice of listening, humanism,
musical borrowing, and other topics. Multidisciplinary studies of
music and architecture, feasting, poetry, politics, liturgy, and
religious devotion rub shoulders with studies of compositional
techniques, musical notation, music manuscripts, and reception
history. Generously illustrated with figures and examples, this
volume paints a vibrant picture of musical life in a period
characterized by extraordinary innovation and artistic achievement.
In the late fifteenth century the newly built Sistine Chapel was
home to a vigorous culture of musical composition and performance.
Josquin des Prez stood at its center, singing and composing for the
pope's private choir. Josquin's Rome offers a new reading of the
composer's work in light of the repertory he and his fellow papal
singers performed from the chapel's singers' box. Comprising the
single largest surviving corpus of late fifteenth-century sacred
music, these pieces served as a backdrop for elaborately
choreographed liturgical ceremonies-a sonic analogue to the
frescoes by Botticelli, Perugino, and their contemporaries that
adorn the chapel's walls. Author Jesse Rodin uses a comparative
approach to uncover this aesthetically and intellectually rich
musical tradition. He confronts longstanding problems concerning
the authenticity and chronology of Josquin's music while offering
nuanced readings of scandalously understudied works by the
composer's contemporaries. The book further contextualizes Josquin
by locating intersections between his music and the wider
soundscape of the Cappella Sistina. Central to Rodin's argument is
the idea that these pieces lived in performance. The author puts
his interpretations into practice through a series of exquisite
recordings by his ensemble, Cut Circle (available both on the
companion website and as a CD from Musique en Wallonie). Josquin's
Rome is an essential resource for musicologists, scholars of the
Italian Renaissance, and enthusiasts of early music.
In the late fifteenth century the newly built Sistine Chapel was
home to a vigorous culture of musical composition and performance.
Josquin des Prez stood at its center, singing and composing for the
pope's private choir. Josquin's Rome offers a new reading of the
composer's work in light of the repertory he and his fellow papal
singers performed from the chapel's singers' box. Comprising the
single largest surviving corpus of late fifteenth-century sacred
music, these pieces served as a backdrop for elaborately
choreographed liturgical ceremonies--a sonic analogue to the
frescoes by Botticelli, Perugino, and their contemporaries that
adorn the chapel's walls. Jesse Rodin uses a comparative approach
to uncover this aesthetically and intellectually rich musical
tradition. He confronts longstanding problems concerning the
authenticity and chronology of Josquin's music while offering
nuanced readings of scandalously understudied works by the
composer's contemporaries. The book further contextualizes Josquin
by locating intersections between his music and the wider
soundscape of the Cappella Sistina. Central to Rodin's argument is
the idea that these pieces lived in performance. The author puts
his interpretations into practice through a series of exquisite
recordings by his ensemble, Cut Circle (available both on the
companion website and as a CD from Musique en Wallonie). Josquin's
Rome is an essential resource for musicologists, scholars of the
Italian Renaissance, and enthusiasts of early music.
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