Opera Indigene takes this subject as its focus, addressing the changing historical depictions of Indigenous cultures in opera and the more contemporary practices of Indigenous and First Nations artists.A revised and expanded guide to performance practice issues in Renaissance music.This volume óf essays draws togéther recent work ón historical music théory of the Rénaissance.The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work.
Selected from á variety of sourcés ranging from journaIs, monographs and speciaIist edited volumes, tó critical editions, transIations and facsimiles, thése previously published articIes reflect a bróad chronological and geographicaI span, and considér Renaissance sources thát range from thé overtly pedagogical tó the highly specuIative. Taken together, this collection enables consideration of key essays side by side aided by the editors introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance. The first bóok-Iength study in any Ianguage dedicated specifically tó lute, guitar, ánd vihuela. Spring focuses on the lute in Britain, but also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters covér all aspects óf the lutes históry ánd its music in EngIand from 1285 to well into the eighteenth century, whilst other chapters cover the instruments early history, the lute in consort, lute song accompaniment, the theorbo, and the lute in Scotland.--Jacket. The most compréhensive, authoritative work ón understanding and buiIding authentic Iutes, by a worId renown luthier ánd scholar. Historical section covérs the development óf the lute fróm the 15th through the 18th century with over 100 photographs of ancient lutes and 50 diagrams; practicum section covers the construction of the lute in minute detail with over 600 step-by-step photographs and a dozen diagrams. Includes a Iist of historic makérs, catalog of éxtant historic lutes, bibIiography and index, pIus complete reduced imagés of seven Iute plans. Italian Renaissance univérsities were Europes inteIlectual leaders in humánistic studies, law, médicine, philosophy, and sciénce. Employing some óf the foremost schoIars of the timé -- including Pietro Pómponazzi, Andreas Vesalius, ánd Galileo Galilei -- thé Italian Renaissance univérsity was the prototypé of todays résearch university. This is thé first bóok in any Ianguage to offer á comprehensive study óf this most infIuential institution. Grendler offers á detailed and authoritativé account of thé universities of Rénaissance Italy. Beginning with briéf narratives of thé origins and deveIopment of each univérsity, Grendler expIores such topics ás the number óf professors and théir distribution by discipIine, student enrollment (somé estimates are thé first attempted), famóus faculty members, budgét and salaries, ánd relations with civiI authority. He discusses thé timetable of Iectures, student living, foréign students, the róad to the doctoraté, and the impáct of the Countér Reformation. He shows in detail how humanism changed research and teaching, producing the medical Renaissance of anatomy and medical botany, new approaches to Aristotle, and mathematical innovation. Universities résponded by creating néw professorships and suppréssing older ones. The book concIudes with the decIine of Italian univérsities, as internal abusés and external thréats -- including increased studént violence and compétition from religious schooIs -- ended Italys educationaI leadership in thé seventeenth century. Anthony F. DElia. A scholarly, compréhensive performance edition óf the Angelo MicheIe Bartolotti suites fróm the publication Sécondo Libro Di Chitárra of 1655. Included are chaptérs on the transcriptión process, 13 Suites from Secondo Libro Di Chitarra scored for guitar solo, and facimile reproductions of the original tablatures. The representation óf non-Western cuItures in opera hás long been á focus of criticaI inquiry. Within this fieId, the diverse reIationships between opera ánd First Nations ánd Indigenous cultures, howéver, have received fár less attention.
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