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The Music Room in Early Modern France and Italy
Sound, Space and Object
Edited by Deborah Howard and Laura Moretti
300 pages
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78 half-tones and colour photos
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234x156mm
978-0-19-726505-5
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Hardback
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14 June 2012
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- Innovative perspective on a subject that has not been fully explored until now
- Wide-ranging contributions, including from academia, museums, acoustics consultancy, and period instrument making, offer interdisciplinary exchange of ideas
- Fully-illustrated from works of art and architecture, and with objects related to music-making and manuscripts
This interdisciplinary book investigates the use of secular space for music making in Early Modern France and Italy. The fact that many artists of the time also had musical skills underlines the close relationship between music and the visual arts. 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.
We see 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 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.Readership: Undergraduate and postgraduate students; musicians and accousticians; the general reader interested in the history of music-making
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Edited by Deborah Howard, Professor Architectural History and Fellow of St John's College, University of Cambridge; Fellow of the British Academy, and Laura Moretti, Lecturer in Art History, School of Art History, University of St Andrews Contributors:
Deborah Howard
Patricia Fortini Brown
Flora Dennis
Tracy Cooper
Sophie Pickford
Deborah Howard
Rebecca Norris
Mimmo Peruffo
Michael Lowe
Raf Orlowski
Giovanni Zanovello
Guido Beltramini
Michael Markham
Laura Moretti
Iain Fenlon
Tessa Murdoch
Davide Bonsi
Tarrek Barreda
Arnaldo Morello
Laura Moretti
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Deborah Howard: Introduction: Music-making in Residenctiontial Space
1. The Visual Dimension
1: Patricia Fortini Brown: Seduction and Spirituality: The Ambiguous Roles of Music in Venetian Art
2: Flora Dennis: When is a Room a Music Room? Sounds, Spaces, and Objects in Non-courtly Italian Interiors
3: Tracy E. Cooper: The Place of Music in the Artist's Home
2. The Spatial Dimension
4: Sophie Pickford: Music in the French Domestic Interior (1500-1600)
5: Deborah Howard: The Role of Music in the Venetian Home in the Cinquecento
6: Rebecca Norris: Women on the Edge: The 'Saletta delle Dame' of the Palazzo Salvadego in Brescia
3. The Aural Dimension
7: Mimmo Peruffo: Balance on the Lute: The Role of the Strings
8: Michael Lowe: The Lute: An Intrument for All Seasons
9: Raf Orlowski: Assessing the Acoustic Performance of Small Music Rooms: A Short Introduction
4. The Intellectual Dimension
10: Giovanni Zanovello: 'With tempered notes, in the green hills and among rivers': Music, Learning, and the Symbolic Space of Recreation in the Manuscript Modena, Biblioteca Estense, Universitaria A.F.9.9
11: Guido Beltramini: Spaces for Music in Sixteenth-Century Paduan Noble Courts
12: Michael Markham: Caccini's Stages: Identity and Performance Space in the Late Cinquecento Courts
5. Courtly Contexts
13: Laura Moretti: Spaces for Musical Performance in the Este Court in Ferrara (c 1440-1540)
14: Iain Fenlon: Music Rooms in the Ducal Palace in Mantua: From Andrea Mantegna to Giovan Battista Bertani
15: Tessa Murdoch: Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century
6. The Development of Purpose-Built Spaces for Music
16: Davide Bonsi: The Acoustic Analysis of Palladio's Teatro Olimpico, Vicenza
17: Tarek Barreda: Music at Home: Spaces for Music in French Seventeenth-Century Residential Architecture
18: Arnaldo Morelli: Spaces for Musical Performance in Seventeenth-Century Roman Residences
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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