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English music studies often apply rigid classifications to musical materials, their uses, their consumers, and performers. The contributors to this volume argue that some performers and manuscripts from the early modern era defy conventional categorization as "amateur" or "professional," "native" or "foreign." These leading scholars explore the circulation of music and performers in early modern England, reconsidering previously held ideas about the boundaries between locations of musical performance and practice.

Indiana University Press

Music and the Early Modern Imagination

Beyond Boundaries: Rethinking Music Circulation in Early Modern England

Paul Schleuse

In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.

Singing Games in Early Modern Italy: The Music Books of Orazio Vecchi

Robert L. Kendrick

A defining moment in Catholic life in early modern Europe, Holy Week brought together the faithful to commemorate the passion, crucifixion, and resurrection of Jesus Christ. In this study of ritual and music, Robert L. Kendrick investigates the impact of the music used during the Paschal Triduum on European cultures during the mid-16th century, when devotional trends surrounding liturgical music were established; through the 17th century, which saw the diffusion of the repertory at the height of the Catholic Reformation; and finally into the early 18th century, when a change in aesthetics led to an eventual decline of its importance. By considering such issues as stylistic traditions, trends in scriptural exegesis, performance space, and customs of meditation and expression, Kendrick enables us to imagine the music in the places where it was performed.

Singing Jeremiah: Music and Meaning in Holy Week