The Cambridge History of Seventeenth-Century Music (The by Tim Carter, John Butt

By Tim Carter, John Butt

Members discover new elements of composition and function during this accomplished exam of the repertory, associations, performers, composers, and social and cultural global of 1 of the best moments in tune heritage. they give thought to the cosmopolitan nature of song making; emergence of markets for musical task; and improvement of latest musical kinds and gestures. The paintings additionally includes a separate chronology and dictionary-style entries on participants, locations and associations. <img src="http://cambridge.org/us/promotion/promo_buttons/CHO_button.jpg"; width="180" height="90" border="2" alt="Cambridge Histories Online" />

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Useful material can also be found in Fenlon, Music and Patronage in Sixteenth-Century Mantua, i. 23 Goldthwaite, Wealth and the Demand for Art in Italy. 24 For early opera, see most recently, Carter, Monteverdi’s Musical Theatre, pp. 17–46, 110–18. However, reference should still be made to Nino Pirrotta’s seminal ‘Temperaments and Tendencies in the Florentine Camerata’. The academic context of Venetian opera is clearly described in Rosand, Opera in SeventeenthCentury Venice, pp. 37–40. 16 tim carter seventeenth century has often been labelled one of ‘crisis’,25 embracing political upheaval (the English Civil War), religious turmoil (the Thirty Years War from 1618 to 1648, which cut swathes through much of northern and central Europe), fundamental shifts of scientific paradigms (Galileo, Descartes, Newton), plague (for example, in Italy from 1630 to 1632), economic disasters (beginning around 1620), and even drastic climate change.

Indeed, the market for which composers potentially catered broadened considerably in the sixteenth and early seventeenth centuries, a broadening that was encouraged, to say the least, by music printing. The need for music for domestic use (the cultured individual singing to the lute, the convivial gathering around the dinner table, moments of family celebration or commemoration), or for the meeting-places of various social groups – including confraternities and academies – remained strong, despite the threat (noted at the time) of excluding such groups from music-making latent in the increasing professionalisation of modern musical endeavour.

23 Goldthwaite, Wealth and the Demand for Art in Italy. 24 For early opera, see most recently, Carter, Monteverdi’s Musical Theatre, pp. 17–46, 110–18. However, reference should still be made to Nino Pirrotta’s seminal ‘Temperaments and Tendencies in the Florentine Camerata’. The academic context of Venetian opera is clearly described in Rosand, Opera in SeventeenthCentury Venice, pp. 37–40. 16 tim carter seventeenth century has often been labelled one of ‘crisis’,25 embracing political upheaval (the English Civil War), religious turmoil (the Thirty Years War from 1618 to 1648, which cut swathes through much of northern and central Europe), fundamental shifts of scientific paradigms (Galileo, Descartes, Newton), plague (for example, in Italy from 1630 to 1632), economic disasters (beginning around 1620), and even drastic climate change.

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