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Song and season : science, culture, and theatrical time in early modern Venice / Eleanor Selfridge-Field.

Av:

Selfridge-Field, Eleanor [aut]

Språk: Engelska Serie: The calendar of Venetian operaUtgivning: Stanford, Calif. Stanford University Press, 2007Beskrivning: 394 s. illISBN:

9780804757652

Ämne:

DDK-klassifikation:

945/.3107 22

LC-klassifikation:

DG675.6

SAB-klassifikation:

Ijra

Sammanfattning: Two systems of timekeeping were in concurrent use in Venice between 1582 and 1797. Government documents conformed to the Venetian year (beginning 1 March), church documents to the papal year (from 1 January). Song and Season defines the many ways in which time was discussed, resolving a long-standing fuzziness imposed on studies of personnel, institutions, and cultural dynamics by dating conflicts. It is in this context that the standardization of timekeeping coincided with the collapse of the dramma per musica and the rise of scripted comedy and the opera buffa. The book discloses fascinating relationships between the musical stage and the cultures it served, such as the residues of medieval liturgical feasts embedded in the theatrical year. Such associations were transmuted into lingering seasonal associations with specific dramatic genres. Interactions between culture and chronology thus operated on both general and specific

Holdings ( 1 )
Title notes ( 1 )

Holdings
Item type	Current library	Call number	Materials specified	Copy number	Status	Date due	Barcode	Item holds
Book	Musik- och teaterbiblioteket Magasin A	B25.575		1	Available		26201809854

Total holds: 0

Two systems of timekeeping were in concurrent use in Venice between 1582 and 1797. Government documents conformed to the Venetian year (beginning 1 March), church documents to the papal year (from 1 January). Song and Season defines the many ways in which time was discussed, resolving a long-standing fuzziness imposed on studies of personnel, institutions, and cultural dynamics by dating conflicts. It is in this context that the standardization of timekeeping coincided with the collapse of the dramma per musica and the rise of scripted comedy and the opera buffa. The book discloses fascinating relationships between the musical stage and the cultures it served, such as the residues of medieval liturgical feasts embedded in the theatrical year. Such associations were transmuted into lingering seasonal associations with specific dramatic genres. Interactions between culture and chronology thus operated on both general and specific