In this article I study the origins and diffusion of the musical chapels in fifteenth and sixeenth-century European courts. By focusing on the "products" of courtly chapels (both repertories and manuscripts) I examine the political, social, cultural and ideological dimension of the use of music at courts in the fifteenth and sixeenth century. Recent writings on court culture across a range of disciplines (history, history of literature, history of art, social and cultural history) function as a point of departure from which I investigate, on the basis of detailed analysis of significant musical works (the six anonymous "L'homme armé" masses in the manuscript Napoli, Biblioteca Nazionale VI E 40) and corpus of musical manuscripts (the Alamire codices), how the identity of the princely patron was constucted by means of music.
Music and the representation of princely power in the fifteenth and sixteenth century
BORGHETTI, VINCENZO
2008-01-01
Abstract
In this article I study the origins and diffusion of the musical chapels in fifteenth and sixeenth-century European courts. By focusing on the "products" of courtly chapels (both repertories and manuscripts) I examine the political, social, cultural and ideological dimension of the use of music at courts in the fifteenth and sixeenth century. Recent writings on court culture across a range of disciplines (history, history of literature, history of art, social and cultural history) function as a point of departure from which I investigate, on the basis of detailed analysis of significant musical works (the six anonymous "L'homme armé" masses in the manuscript Napoli, Biblioteca Nazionale VI E 40) and corpus of musical manuscripts (the Alamire codices), how the identity of the princely patron was constucted by means of music.File | Dimensione | Formato | |
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