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Divas in the convent : nuns, music and defiance in seventeenth-century Italy / Craig A. Monson.

Av: Monson, Craig (Craig A.)Medverkande: Monson, Craig (Craig A.). Disembodied voicesLanguage: English Publisher: Chicago, [Ill.] ; London : University of Chicago Press, [2012]Copyright date: ©2012Utgåva: [New ed.]Beskrivning: xxiv, 272 sidor illustrationer, musiknoter 23 cmInnehållstyp: text Mediatyp: unmediated Bärartyp: volumeISBN: 0226535193; 9780226535197Ämne(n): Vizzana, Lucrezia Orsina, 1590-1662 | Santa Cristina della Fondazza (Convent : Bologna, Italy) | 1600-talet | Kvinnliga tonsättare | Kyrkomusik | Klostermusik | Music in convents -- Italy -- Bologna -- History -- 17th century | Church music -- Italy -- Bologna -- 17th century | Church music -- Catholic Church -- 17th century | ItalienDDK-klassifikation: 780.882094541 LC-klassifikation: ML3033.8.B65 | M66 2012
Anmärkning:
Previous ed.: published as Disembodied voices. Berkeley, Calif.: University of California Press, 1995.
Anmärkning bestånd: C16.951 Libris-ID: 13430223Summary: When eight-year-old Lucrezia Orsina Vizzana (1590-1662) entered one of the preeminent convents in Bologna in 1598, she had no idea what cloistered life had in store for her. Thanks to clandestine instruction from a local maestro di cappella - and despite the church hierarchy's vehement opposition to all convent music - Vizzana became the star of the convent, composing works so thoroughly modern and expressive that a recent critic described them as "historical treasures." But at the very moment when Vizzana's works appeared in 1623 - she would be the only Bolognese nun ever to publish her music - extraordinary troubles beset her and her fellow nuns, as episcopal authorities arrived to investigate anonymous allegations of sisterly improprieties with male members of their order. Craig A. Monson retells the story of Vizzana and the nuns of Santa Cristina to elucidate the role that music played in the lives of these cloistered women. Monson explains how the sisters - refusing to accept what the church hierarchy called God's will and what the nuns perceived as a besmirching of their honor - fought back with words and music, and when these proved futile, with bricks, roof tiles, and stones. These women defied one Bolognese archbishop after another, cardinals in Rome, and even the pope himself, until threats of excommunication and abandonment by their families brought them to their knees twenty-five years later. By then, Santa Cristina's imaginative but frail composer literally had been driven mad by the conflict. Monson's fascinating narrative relies heavily on the words of its various protagonists, on both sides of the cloister wall, who emerge vividly as imaginative, independent-minded, and not always sympathetic figures. In restoring the musically gifted Lucrezia Orsina Vizzana to history, Monson introduces readers to the full range of captivating characters who played their parts in seventeenth-century convent life
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Previous ed.: published as Disembodied voices. Berkeley, Calif.: University of California Press, 1995.

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When eight-year-old Lucrezia Orsina Vizzana (1590-1662) entered one of the preeminent convents in Bologna in 1598, she had no idea what cloistered life had in store for her. Thanks to clandestine instruction from a local maestro di cappella - and despite the church hierarchy's vehement opposition to all convent music - Vizzana became the star of the convent, composing works so thoroughly modern and expressive that a recent critic described them as "historical treasures." But at the very moment when Vizzana's works appeared in 1623 - she would be the only Bolognese nun ever to publish her music - extraordinary troubles beset her and her fellow nuns, as episcopal authorities arrived to investigate anonymous allegations of sisterly improprieties with male members of their order. Craig A. Monson retells the story of Vizzana and the nuns of Santa Cristina to elucidate the role that music played in the lives of these cloistered women. Monson explains how the sisters - refusing to accept what the church hierarchy called God's will and what the nuns perceived as a besmirching of their honor - fought back with words and music, and when these proved futile, with bricks, roof tiles, and stones. These women defied one Bolognese archbishop after another, cardinals in Rome, and even the pope himself, until threats of excommunication and abandonment by their families brought them to their knees twenty-five years later. By then, Santa Cristina's imaginative but frail composer literally had been driven mad by the conflict. Monson's fascinating narrative relies heavily on the words of its various protagonists, on both sides of the cloister wall, who emerge vividly as imaginative, independent-minded, and not always sympathetic figures. In restoring the musically gifted Lucrezia Orsina Vizzana to history, Monson introduces readers to the full range of captivating characters who played their parts in seventeenth-century convent life

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