Warrior Courtier Singer

Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context.

Author: Richard Wistreich

Publisher: Routledge

ISBN: 9781317000280

Category: Music

Page: 346

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Giulio Cesare Brancaccio was a Neapolitan nobleman with long practical experience of military life, first in the service of Charles V and later as both soldier and courtier in France and then at the court of Alfonso II d'Este at Ferrara. He was also a virtuoso bass singer whose performances were praised by both Tasso and Guarini - he was even for a while the only male member of the famous Ferrarese court Concerto delle dame, who established a legendary reputation during the 1580s. Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context. A wide-ranging study of bass singing in sixteenth- and early seventeenth-century Italy provides a contextual basis from which to consider Brancaccio's reputation as a performer. Wistreich illustrates the use of music in the process of 'self-fashioning' and the role of performance of all kinds in the construction of male noble identity within court culture, including the nature and currency of honour, chivalric virtù and sixteenth-century notions of gender and virility in relation to musical performance. This fascinating examination of Brancaccio's social world significantly expands our understanding of noble culture in both France and Italy during the sixteenth century, and the place of music-making within it.
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Warrior Courtier Singer

British Library Cataloguing in Publication Data Wistreich, Richard Warrior, courtier, singer : Giulio Cesare Brancaccio and the performance of identity in the late Renaissance 1. Brancaccio, Giulio Cesare, 1515–1586 2.

Author: Richard Wistreich

Publisher: Routledge

ISBN: 9781317000273

Category: Music

Page: 346

View: 590

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Giulio Cesare Brancaccio was a Neapolitan nobleman with long practical experience of military life, first in the service of Charles V and later as both soldier and courtier in France and then at the court of Alfonso II d'Este at Ferrara. He was also a virtuoso bass singer whose performances were praised by both Tasso and Guarini - he was even for a while the only male member of the famous Ferrarese court Concerto delle dame, who established a legendary reputation during the 1580s. Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context. A wide-ranging study of bass singing in sixteenth- and early seventeenth-century Italy provides a contextual basis from which to consider Brancaccio's reputation as a performer. Wistreich illustrates the use of music in the process of 'self-fashioning' and the role of performance of all kinds in the construction of male noble identity within court culture, including the nature and currency of honour, chivalric virtù and sixteenth-century notions of gender and virility in relation to musical performance. This fascinating examination of Brancaccio's social world significantly expands our understanding of noble culture in both France and Italy during the sixteenth century, and the place of music-making within it.
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Court and Its Critics

88 89 90 91 92 93 94 95 96 97 98 99 Wistreich, Warrior, Courtier, Singer, 273; Coldagelli, “Brancaccio, Giulio Cesare.” On thisletter, see Wistreich, Warrior, Courtier, Singer, 236. “ché a questi tali meritamente si podir quello, ...

Author: Paola Ugolini

Publisher: University of Toronto Press

ISBN: 9781487505448

Category: History

Page: 312

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The Court and Its Critics focuses on the disillusionment with courtliness, the derision of those who live at court, and the open hostility toward the court, themes common to Renaissance culture.
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Orpheus in the Academy

5 The connection between Banchieri's admiration for Monteverdi's music and the latter's membership in the group is suggested by Denis Stevens in Monteverdi, Letters, 215. 6 Wistreich, Warrior, Courtier, Singer, 247. 7 Cortegiano I.17, ...

Author: Joel Schwindt

Publisher: Routledge

ISBN: 9781000431339

Category: Music

Page: 256

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This book introduces a new perspective on Claudio Monteverdi's Orfeo (1607), a work widely regarded as the 'first great opera', by exploring the influence of the Mantuan Accademia deglia Invaghiti, the group which hosted the opera’s performance, and to which the libretto author, Alessandro Striggio the Younger, belonged. Arguing that the Invaghiti played a key role in shaping the development of Orfeo, the author explores the philosophical underpinnings of the Invaghiti and Italian academies of the era. Drawing on new primary sources, he shows how the Invaghiti’s ideas about literature, dramaturgy, music, gender, and aesthetics were engaged and contested in the creation and staging of Orfeo. Relevant to researchers of music history, performance, and Renaissance and Baroque Italy, this study sheds new light on Monteverdi’s opera as an intellectual and philosophical work.
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Music Myth and Story in Medieval and Early Modern Culture

Further, they collectively sing the part of Eros himself. The poem is primarily a re-imagining of the myth of Phoebus (Apollo), Amor and Daphne;66 in the myth, ... Translation quoted in Wistriech, Warrior, Courtier, Singer, p.269.

Author: Katherine Butler

Publisher: Boydell & Brewer

ISBN: 9781783273713

Category: Music

Page: 318

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The complex relationship between myths and music is here investigated.
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Women and Music in Sixteenth Century Ferrara

In 1568 Tarquinia Molza had commanded attention and respect as a solitary woman, singing the top line of complex polyphony in ... leading to his dismissal from court in 1583, is discussed in Wistreich, Warrior, Courtier, Singer, 239–51.

Author: Laurie Stras

Publisher: Cambridge University Press

ISBN: 9781107154070

Category: Music

Page: 350

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Rethinks and retells the history of music in sixteenth-century Ferrara, putting women, of the court and convent, at the narrative centre.
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Masculinity and Western Musical Practice

Warrior-Singers Another critical issue about the voicing of virility, already briefly encountered in the case of Tancredi and the disguised ... 32 For a fuller treatment of warrior-singers, see Wistreich, Warrior, Courtier, Singer, esp.

Author: Kirsten Gibson

Publisher: Routledge

ISBN: 9781351559034

Category: Music

Page: 350

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How have men used art music? How have they listened to and brandished the musical forms of the Western classical tradition and how has music intervened in their identity formations? This collection of essays addresses these questions by examining some of the ways in which men, music and masculinity have been implicated with each other since the Middle Ages. Feminist musicologies have already dealt extensively with music and gender, from the 'phallocentric' tendencies of the Western tradition, to the explicit marginalization of women from that tradition. This book builds on that work by turning feminist critical approaches towards the production, rhetorical engagement and subversion of masculinities in twelve different musical case studies. In other disciplines within the arts and humanities, 'men's studies' is a well-established field. Musicology has only recently begun to address critically music's engagement with masculinity and as a result has sometimes thereby failed to recognize its own discursive misogyny. This book does not seek to cover the field comprehensively but, rather, to explore in detail some of the ways in which musical practices do the cultural work of masculinity. The book is structured into three thematic sections: effeminate and virile musics and masculinities; national masculinities, national musics; and identities, voices, discourses. Within these themes, the book ranges across a number of specific topics: late medieval masculinities; early modern discourses of music, masculinity and medicine; Renaissance Italian masculinities; eighteenth-, nineteenth- and early twentieth-century ideas of creativity, gender and canonicity; masculinity, imperialist and nationalist ideologies in the nineteenth century, and constructions of the masculine voice in late nineteenth- and twentieth-century opera and song. While the case studies are methodologically disparate and located in different historical and geographical locations, they all share a common conc
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Claudio Monteverdi

Courtier, Warrior, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Burlington, VT: Ashgate, 2007. xii, 332p. ISBN 9780754654148. ML420.B7713.W57 2007. Building on his doctoral dissertation ...

Author: Susan Lewis

Publisher: Routledge

ISBN: 9781135042929

Category: Music

Page: 242

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Claudio Monteverdi: A Research and Information Guide is an annotated bibliography that navigates the vast scholarly resources on the composer with the most updated compilation since 1989. Claudio Monteverdi transformed and mastered the principal genres of his day and his works influenced generations of musicians and other artists. He initiated one of the most important aesthetic debates of the era by proposing a new relationship between poetry and harmony. In addition to scholarship by musicologists and music theorists, Monteverdi’s music has attracted attention from literary scholars, cultural historians, and critical theorists. Research into Monteverdi and Renaissance and early baroque studies has expanded greatly, with the field becoming more complex as scholars address such issues as gender theory, feminist criticism, cultural theory, new criticism, new historicism, and artistic and popular cultures. The guide serves both as a foundational starting point and as a gateway for future inquiry in such fields as court culture, opera, patronage, and Italian poetry.
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Singing Games in Early Modern Italy

See Richard Wistreich, Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance (Aldershot, UK: Ashgate, 2007), 206. 6. Orazio Vecchi, The Four-Voice Canzonettas, ed.

Author: Paul Schleuse

Publisher: Indiana University Press

ISBN: 9780253015044

Category: Music

Page: 552

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In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
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Writing Mary I

The original French can be found in Richard Wistreich, Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance (New York: Ashgate, 2007), 43. Cafarello was one of Renard's informants.

Author: Valerie Schutte

Publisher: Springer Nature

ISBN: 9783030951320

Category:

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