The Role of Music in the Venetian Home in the Cinquecento

2012 ◽  
Author(s):  
DEBORAH HOWARD
Keyword(s):  
Sixteenth Century ◽  
Domestic Space ◽  
Class Identity ◽  
Professional Musicians ◽  
Music Making ◽  
Size Function ◽  
Theatrical Performance ◽  
Definition Of

This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions.

The Flageolet: A Woodwind Instrument that Transcended Social Class and Gender in Nineteenth-Century England

2020 ◽  
pp. 1-24
Author(s):  
Douglas MacMillan
Keyword(s):  
Nineteenth Century ◽  
Social Class ◽  
Societal Implications ◽  
Public Performance ◽  
Professional Musicians ◽  
Concert Hall ◽  
Music Making ◽  
Music Hall ◽  
And Gender

The flageolet – a woodwind instrument closely akin to the recorder – achieved considerably popularity in nineteenth-century England. It was predominantly an instrument of the amateur musician, and its story becomes a mirror of the musical society in which the instrument flourished. An account of the organology of the flageolet in both its English and French forms, and of its evolution into double, triple and transverse versions, precedes a study of pedagogical material and repertoire. The work of William Bainbridge, who modified the flageolet to simplify its technique and hence enhance its suitability for amateur players, is emphasized, along with his skill as an innovator of complex flageolets. The flageolet attracted a small number of professional exponents who tended to favour the French form of the instrument. The principal focus of the article is an examination of the role of the flageolet within the context of musical praxis in England and its societal implications during the long nineteenth century. After consideration of matters of finance, social class and gender, the article examines the use of the flageolet by amateur and professional musicians, particularly highlighting the importance of the instrument in domestic music-making as well as in amateur public performance. Professional use of the instrument within the context of the concert hall, the theatre, the ballroom and the music hall is explored and examples given of prominent players and ensembles, some of which were composed entirely of female musicians. Final paragraphs note the playing of the flageolet by itinerant and street musicians.

The Braggart in Italian Renaissance Comedy

PMLA ◽  
1943 ◽  
Vol 58 (1) ◽  
pp. 42-83
Author(s):  
Daniel C. Boughner
Keyword(s):  
Sixteenth Century ◽  
Italian Renaissance ◽  
The Political ◽  
Elizabethan Drama ◽  
Political Conditions ◽  
Definition Of ◽  
Conventional Type

The chief purpose of this paper is to describe one phase of the domestication of Latin drama on the Renaissance stage, specifically to show how a conventional type made famous by the Roman comedians, the miles gloriosus, was fashioned by the academic playwrights of sixteenth-century Italy into an instrument of contemporary satire. A secondary aim is to provide a fuller literary background for the study of the braggart in Elizabethan drama. Such analysis requires a summary of themes, situations, and attitudes that have enriched the comic tradition of Europe, and demands also a definition of the comic spirit that exposes and derides the vainglorious folly of the alazon or boaster who struts and brags of his merits in utter disregard of truth. Menander and his disciples in Latin comedy developed a satiric method which the Italians borrowed for the ridicule of modern representatives of the alazon. Any consideration of the commedia erudita must also be prefaced by a review of the political conditions in Italy that brought to prominence such hated types as the Spaniard and other mercenary soldiers. This paper describes the rôle of the Spaniard and traces the evolution of the braggart from the imitations of Plautus and Terence, through the modifications of conventional themes, and finally to the new elements inspired by the changed domestic conditions of the peninsula.

Together in Music

2021 ◽  
Keyword(s):  
State Of The Art ◽  
Contemporary Music ◽  
Positive Outcomes ◽  
Music Making ◽  
The Social ◽  
Methodological Approaches ◽  
Definition Of ◽  
Level Of Understanding ◽  
Insight Into

Together in music develops insight into the musical ensemble as an intense form of teamwork, as finely coordinated joint action, and as an emotionally and socially rewarding experience that enables positive outcomes for wellbeing and development. By investigating processes related to group music-making at meso-, micro-, and macro-level, it offers a platform for synthesis across disciplinary and methodological approaches, and the definition of a new level of understanding that is holistic and considers interrelationships between levels of analysis. The book combines review chapters that summarize the state of the art with case studies that present research outcomes. While most chapters focus on Western classical or contemporary music, the themes that run through the book have broad relevance, which include the role of embodiment and emergence, relationships between the social and the musical, multi-dimensionality of experiences, and technologies to investigate and support collaboration and interaction in ensembles.

Defining Heresies: Catholic Heresiologies, 1520–50

2007 ◽  
Vol 43 ◽  
pp. 241-251
Author(s):  
David Bagchi
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Middle Ages ◽  
Causal Connection ◽  
Traditional Definition ◽  
The Reformation ◽  
Definition Of ◽  
Medieval Heresy ◽  
Traditional Understanding

Few historians nowadays would endorse a simple causal connection between the Reformation and the rise of toleration. Indeed, reformations Protestant and Catholic have become almost synonymous with ‘confessionalization’ and ‘social disciplining’. Nonetheless, the transition from the persecuting society of the Middle Ages to something approaching a pluralist society was an early modern phenomenon which has attracted renewed attention in recent years. This transition was facilitated by the breakdown of the traditional understanding of heresy. The role of Protestantism in de-stabilizing the heresy discourse of mid-seventeenth century England has been expertly delineated by Ann Hughes in her study of Thomas Edwards’s Gangraena and the responses to it. But it would be a mistake to suppose that the Catholic understanding of heresy was entirely stable during this period. As I hope to show in this survey of Catholic heresiologies from the period 1520 to 15 50, controversialists encountered difficulties when they tried to conscript patristic and medieval heresy discourses into the sixteenth-century conflict. An instability at the heart of the traditional definition of heresy – over whether heresy is primarily a doctrinal error or a moral failing – seemed at first to provide a solution to these difficulties. Ultimately and ironically, however, it made their case vulnerable to a Protestant charge of subjectivism.

The psalms as a mark of Protestantism: the introduction of liturgical psalm-singing in Geneva

2011 ◽  
Vol 20 (2) ◽  
pp. 145-163 ◽  
Author(s):  
Daniel Trocmé-Latter
Keyword(s):  
Sixteenth Century ◽  
Church Leaders ◽  
Protestant Church ◽  
Lutheran Church ◽  
Music Making ◽  
The Reformation ◽  
The World ◽  
Congregational Singing ◽  
Musical Practices

ABSTRACTIt is widely believed that musical creativity suffered under the control of many sixteenth-century Protestant church leaders, especially in the Reformed (as opposed to Lutheran) branch of Protestantism. Such views are generalisations, and it is more accurate to say that music in Geneva and other Reformed strongholds developed in a very different way from the music of the Lutheran Church. The very specific beliefs about the role of music in the liturgy of Jean Calvin, Genevan church leader, led to the creation and publication of the Book of Psalms in French, in metre, and set to music. The Genevan or Huguenot Psalter, completed in 1562, formed the basis for Reformed worship in Europe and throughout the world, and its impact is still felt today. Despite the importance of the Psalter, relatively little is known about the precise liturgical musical practices in Geneva at the time of the Reformation, and little research has been carried out into the aspirations of either reformers or church musicians in relation to the Psalter. This article explores the significance of Calvin's interest in the Psalms as theological material, observing how this interest manifested itself, and outlines Calvin's views on music and the ways in which his plans for psalm-singing were implemented in Geneva from the 1540s onwards. After giving a brief explanation of the process through which the psalm melodies were taught and learnt, it also asks whether Calvin's vision for congregational singing would, or could, have been fully realised, and to what extent the quality of music-making was important to him. This article suggests that in the Genevan psalm-singing of the sixteenth century, matters of spiritual significance were most important.

Understanding the wellbeing of professional musicians through the lens of Positive Psychology

2016 ◽  
Vol 45 (1) ◽  
pp. 65-81 ◽  
Author(s):  
Sara Ascenso ◽  
Aaron Williamon ◽  
Rosie Perkins
Keyword(s):  
Positive Psychology ◽  
Positive Emotions ◽  
Sense Of Self ◽  
Professional Life ◽  
Professional Musicians ◽  
Record Keeping ◽  
Music Making ◽  
Holistic Training ◽  
Diary Record

Recognizing the need to include musicians in mainstream wellbeing profiling and to move beyond a focus on debilitating factors of the music profession, this study aimed to understand how professional musicians experience wellbeing in the light of Positive Psychology. Guided by the PERMA model, the goal was to track enhancers and challenges for wellbeing in relation to the model’s five components: positive emotions, engagement, relationships, meaning and accomplishment. Participants included six professional musicians from six activities: solo, orchestral, choral, chamber, conducting and composing. Two interviews were conducted with each participant, separated by two weeks of diary record-keeping. Results point to high wellbeing. A clear sense of self appears as an overarching sustainer of wellbeing and the transition to professional life as the most challenging time regarding musicians’ flourishing. Positive emotions emerged as highly related to musical moments, while varying repertoire and experiencing different ensembles appeared as central sources of engagement. Meaning emerged as linked to the shared nature of music-making, and a sense of accomplishment was built on internal goals and oneness in performance with others. The key processes for positive functioning appeared to involve responses to, and regulation by, relationships. Implications are discussed in relation to the role of holistic training in educational settings.

scholarly journals Class Formation and Consumption among Middle-Class Professionals in Shenzhen

2011 ◽  
Vol 40 (1) ◽  
pp. 187-211 ◽  
Author(s):  
Jacqueline Elfick
Keyword(s):  
Middle Class ◽  
Urban Population ◽  
Class Identity ◽  
Daily Lives ◽  
Consumption Practices ◽  
Definition Of ◽  
Depth Interviews ◽  
Large Sections ◽  
Urban Professionals

This paper explores the role of consumption in defining Chinese middle-class identity by examining the consumption practices of urban professionals. It is widely agreed that China has a thriving middle class. The exact definition of this middle class, however, is disputed by scholars and the Chinese popular press. Debates about class are also manifest in the daily lives of urban professionals. One of the most interesting areas in which identity is contested is that of consumption. The research is based on 60 in-depth interviews among professionals conducted in Shenzhen in the period 2004–2010. New wealth means that the myriad of goods on offer is accessible to large sections of the urban population. Professionals have become keen and selective shoppers. Many describe their consumption practices as informed by their own highly individualistic taste. This paper argues that professional consumption practices sometimes express individual taste but, more importantly, serve to articulate a collective social identity.

Challenges of Fear Conditioning Research in the Age of RDoC

2017 ◽  
Vol 225 (3) ◽  
pp. 189-199 ◽  
Author(s):  
Tina B. Lonsdorf ◽  
Jan Richter
Keyword(s):  
Fear Conditioning ◽  
Clinical Diagnosis ◽  
Research Domain Criteria ◽  
Major Focus ◽  
The Future ◽  
Definition Of ◽  
Methodological Considerations ◽  
Research Domain

Abstract. As the criticism of the definition of the phenotype (i.e., clinical diagnosis) represents the major focus of the Research Domain Criteria (RDoC) initiative, it is somewhat surprising that discussions have not yet focused more on specific conceptual and procedural considerations of the suggested RDoC constructs, sub-constructs, and associated paradigms. We argue that we need more precise thinking as well as a conceptual and methodological discussion of RDoC domains and constructs, their interrelationships as well as their experimental operationalization and nomenclature. The present work is intended to start such a debate using fear conditioning as an example. Thereby, we aim to provide thought-provoking impulses on the role of fear conditioning in the age of RDoC as well as conceptual and methodological considerations and suggestions to guide RDoC-based fear conditioning research in the future.

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