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In Early Modern times, techniques of assembling, compiling and
arranging pre-existing material were part of the established
working methods in many arts. In the world of 18th-century opera,
such practices ensured that operas could become a commercial
success because the substitution or compilation of arias fitting
the singer's abilities proved the best recipe for fulfilling the
expectations of audiences. Known as "pasticcios" since the
18th-century, these operas have long been considered inferior
patchwork. The volume collects essays that reconsider the
pasticcio, contextualize it, define its preconditions, look at its
material aspects and uncover its aesthetical principles.
During the 17th and 18th century musicians' mobilities and
migrations are essential for the European music history and the
cultural exchange of music. Adopting viewpoints that reflect
different methodological approaches and diversified research
cultures, the book presents studies on central scopes, strategies
and artistic outcomes of mobile and migratory musicians as well as
on the transfer of music. By looking at elite and non-elite
musicians and their everyday mobilities to major and minor centers
of music production and practice, new biographical patterns and new
stylistic paradigms in the European East, West and South emerge.
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