Plato and Aristotle allude to women musicians available for hire for services renderable at symposia (the drinking parties that followed banquets). These allusions have been misunderstood in recent scholarship, culminating in the incorrect assertion that 'Plato and Aristotle differentiated respectable domestic female musicians from entertainer- musicians' (New Grove II, 'Women in music'). The same scholarship tends to refer to such persons, furthermore, as 'flute-girls' and the like; auletris would be a philologically and politically correct alternative.
Villanelle (Part songs) -- 16th century -- History and criticism.
Erotic poetry, Italian -- 16th century -- History and criticism.
This study calls attention to the vital role that the villanesca played in the erotic comic culture of the Cinquecento. Neapolitan songwriters, influenced by the equivocal language of burlesque poets, appropriated their copious lexicon of sexual euphemisms to raise laughter through erotic jesting. Given the considerable amount of semiotic and linguistic research devoted to literary erotica in the past decades, the villanesca can now be fully served by new interpretative approaches and theories of reception that address the production of multiple meanings. Erotic humour worked effectively in Roman villanesche because the prime targets of jests are figures who occupied prominent places in Rome's cultural identity—courtesans, clerics, and noblemen in the service of the Church. Readings of villanesche, selected from three extant Roman anthologies, demonstrate the ways in which songwriters eroticized licit and illicit sexual encounters, thereby motivating singers to clarify equivocal terms with performative gestures or vocal nuances.
Beginning in the late 1680s, opposition to the conservative cultural politics of Louis XIV coalesced in an influential court clique around Louis XIV's son, Louis (1661–1711). In contrast to the king's anti-theatrical moralizing and heritage of supporting classicism, the Dauphin and his Cabale embraced aspects of the arts that Louis XIV had rejected: the Comédie-Italienne, Italian music, and the operas of André Campra. The Dauphin not only supported the Opéra and encouraged Louis XIV to reinstitute the Comédie-Italienne, but his cabale also staged entertainments at court in which commedia dell'arte and Italian music featured. The group's support for Campra during the early phase of his operatic career is reflected by three fêtes commissioned from him in 1697–8 by nobles seeking to cultivate members of the cabale as political patrons. The Dauphin's importance as a protector of the theatre was publicly acknowledged in the prologue to Campra's Le Carnaval de Venise (1699) and in other works of the period. The activities of the cabale and its extended political clientele thus played a significant role in the French fad for Italian music and comedy of the late 1690s, and demonstrate the influence of courtly politics in the musical life of the era.
Avison, Charles, 1710-1770 -- Notebooks, sketchbooks, etc.
Music -- England -- 18th century -- Archival resources.
Two workbooks by Charles Avison, the leading English concerto composer of the eighteenth century, have recently been discovered. Consisting of more than 600 pages that have been unknown and unavailable to scholars for over two centuries, the workbooks contain a wealth of fascinating material, including autograph manuscripts for a number of Avison's best-known works, revisions and variant readings for other pieces by the composer, compositions for which the workbooks represent the unique source, copies of music by other composers (particularly Francesco Geminiani), and even drawings by children. The workbooks offer new perspectives on Avison's compositional process and his role in the development of the orchestral concerto in the eighteenth century, add a number of new compositions to the Avison repertory, provide graphic confirmation of the influence of the Italian style on his music, and significantly enhance our understanding of Avison's contributions to instrumental composition in England during the latter part of the eighteenth century.
Giacomo Puccini was hailed as a national hero at his death in 1924, and again seventeen months later at the posthumous premiere of Turandot. However, close scrutiny of
the Turandot reviews reveals complex subtexts underpinning the patriotic encomiums. Of particular concern to the early critics was the opera's eponymous heroine, who seemed symbolic of an emotionally sterile modernism. The implications of the perception of Turandot as a 'machine woman' are considered here against the backdrop of contemporary developments in the Italian avant-garde spoken theatre.
This article posits Turandot as a highly self-interrogatory work, in which Puccini experimented with new approaches to operatic character and dramaturgy, and reflected upon his oeuvre past and present. Turandot and Liù were presented by critics as representing Puccini's late and early compositional manners, leading to concern about an apparent dichotomy in his style that was unwelcome in a final work. Discussions of the two heroines were used to articulate debates about Puccini's compositional sincerity; about changing attitudes towards operatic sentimentality; and about how the challenges posed by modernism were to be confronted within an Italian context.
Faber, Toby, 1965- Stradivarius: five violins, one cello and a genius.
Stradivari, Antonio, d. 1737.
Sutcliffe, W. Dean.
Internationales Musikwissenschaftliches Symopsium 'Haydn & das Streichquartett' im Rahmen des 'Haydn Streichquartett Weekend': Eisenstadt, 1.-5. Mai 2002; Referate und Diskussionen (review) [Access article in HTML][Access article in PDF] Subject Headings:
Feder, Georg, ed. Internationales Musikwissenschaftliches Symopsium 'Haydn & das Streichquartett' im Rahmen des 'Haydn Streichquartett Weekend': Eisenstadt, 1.-5. Mai 2002; Referate und Diskussionen.