Music In The Collective Experience In Sixteenth-century Milan

by Getz,Christine Suzanne

• ISBN13: 9780754651215
• ISBN10: 0754651215
• Format: Hardcover
• Copyright: 2006-02-28
• Publisher: Routledge

Summary

Renaissance music, like its sister arts, was most often experienced collectively. While it was possible to read Renaissance polyphony silently from a music manuscript or print, improvize alone, or perform as a soloist, the very practical nature of Renaissance music defied individualism. The reading and improvisation of polyphony was most frequently achieved through close co-operation, and this mutual endeavour extended beyond the musicians to include the society to which it is addressed. In sixteenth-century Milan, music, an art traditionally associated with the court and cathedral, came to be appropriated by the old nobility and the new aristocracy alike as a means of demonstrating social primacy and newly acquired wealth. As class mobility assumed greater significance in Milan and the size of the city expanded beyond its Medieval borders, music-making became ever more closely associated with public life. With its novel structures and diverse urban spaces, sixteenth-century Milan offered an unlimited variety of public performance arenas. The city's political and ecclesiastical authorities staged grand processions, church services, entertainments, and entries aimed at the propagation of both church and state. Yet the private citizen utilized such displays as well, creating his own miniature spectacle in a visual and an aural imitation of the ecclesiastical and political panoply of the age Using archival documents, music prints, manuscripts and contemporary writing, Getz examines the musical culture of sixteenth-century Milan via its life within the city's most influential social institutions to show how fifteenth-century courtly traditions were adapted to the public arena. The book considers the relationship of the primary cappelle musicali, including those of the Duomo, the court of Milan, Santa Maria della Scala, and Santa Maria presso San Celso, to the sixteenth-century institutions that housed them. In addition, the book investigates the musician's role as an actor and a functionary in the political, religious, and social spectacles produced by the Milanese church, state, and aristocracy within the city's diverse urban spaces. Furthermore, it establishes a context for the numerous motets, madrigals, and lute intabulations composed and printed in sixteenth-century Milan by examining their function within the urban milieu in which they were first performed. Finally, it musically documents Milan's transformation from a ducal state dominated by provincial traditions into a mercantile centre of international acclaim. Such an important study in Italian Renaissance music will therefore appeal to anyone interested in the culture of Renaissance Italy.

Author Biography

Christine Suzanne Getz is Assistant Professor at the Department of Music, University of Iowa, USA.

Table of Contents

List of Tables	vii
List of Figures	viii
List of Musical Examples	ix
Preface	x
1 Forging a Modern Civic Identity: Music for the Battle of Pavia	1	(30)
Milan after the Fall of Ludovico iL Moro	1	(3)
Music for the Battle at Pavia	4	(27)
2 From Ducal to Gubernatorial Ceremonial	31	(48)
The Ducal Chapels at Sant'Ambrogio in Vigevano and Santa Maria della Scala	32	(6)
The Ducal Ceremonial of Francesco II Sforza	38	(2)
The Gubernatorial Ceremonial	40	(39)
3 The Civic Ceremonial at the Duomo of Milan	79	(44)
In Medio Ecclesiae	79	(1)
The maestri di cappella 1522-1582	80	(10)
The Cappella Musicale	90	(9)
Werrecore's 1555 Motet Book	99	(9)
The Ruffo Masses	108	(15)
4 Music in the Civic Processions and Triumphal Progressions	123	(34)
Civic Processions	123	(11)
The Triumphal Progressions	134	(23)
5 Instrumental Music and Musicians under the Early Governors	157	(38)
Instrumentalists in the Court Chapel of Francesco II Sforza	159	(4)
Instrumental Musicians at the Court of Alfonso D'Avalos	163	(5)
Instrumental Musicians at the Court of Ferrante Gonzaga	168	(2)
Lombard Musicians Serving Abroad	170	(2)
Musicians and the Arms Laws	172	(6)
Instrumental Musicians at the Courts of Ferdinando-Alvarez de Toledo, Cristoforo Madruzzo, and Consalvo-Fernando di Cordova, Duke of Sessa	178	(1)
Pietro Paolo Borrono, Lutenist and Spy	179	(4)
The Influence of the Milanese Dance Masters	183	(12)
6 The Collective Culture of Secular Song	195	(34)
Singers and Song at the Court of Francesco II Sforza	196	(2)
Before Ferrante Gonzaga	198	(1)
Secular Entertainments at the Court of Ferrante Gonzaga	198	(3)
Secular Entertainments at the Court of Don Consalvo-Fernando di Cordova, Duke of Sessa	201	(3)
The Moscheni and Scotto Prints	204	(25)
7 Public Devotion in Post-Tridentine Milan	229	(44)
Borromeo and the Patriciate	230	(3)
The 'Madonna of Miracles' at Santa Maria presso San Celso	233	(10)
The Society of the Ave Maria	243	(5)
The Schools of Christian Doctrine	248	(8)
The School of St Michael in San Calimero	256	(1)
The Confraternity of the Rosary and the Spiritual Madrigal	257	(16)
Appendix I	273	(16)
Documents	273	(16)
Appendix II	289	(6)
Maestri, Singers, and Organists of the Cappella Musicale of the Duomo 1522-1563	289	(6)
Bibliography	295	(12)
Index	307