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Artistic Disobedience
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Music and Confession in Switzerland, 1648-1762
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Artikel-Nr:
9789004330740
Veröffentl:
2017
Erscheinungsdatum:
19.01.2017
Seiten:
280
Autor:
Claudio Bacciagaluppi
Gewicht:
522 g
Format:
236x155x20 mm
Sprache:
Englisch
Beschreibung:
Claudio Bacciagaluppi, Ph.D. (2008), works for the Swiss RISM branch and the Hochschule der Künste Bern. His research concerns sacred music in 17th-c. Switzerland and in 18th-c. Naples. He recently edited Giovanni Battista Pergolesi's Mass in D (Ricordi, 2015).
In Artistic Disobedience Claudio Bacciagaluppi shows how music practice was an occasion for cross-confessional contacts in 17th- and 18th-century Switzerland, implying religious toleration. The difference between public and private performing contexts, each with a distinct repertoire, appears to be of paramount importance. Confessional barriers were overcome in an individual, private perspective. Converted musicians provide striking examples. Also, book trade was often cross-confessional. Music by Catholic (but also Lutheran) composers was diffused in Reformed territories mainly in the private music societies of Swiss German towns (collegia musica). The political and pietist influences in the Zurich and Winterthur music societies encouraged forms of communication that are among the acknowledged common roots of European Enlightenment.
In Artistic Disobedience Claudio Bacciagaluppi shows how music practice was an occasion for cross-confessional contacts in 17th- and 18th-century Switzerland, especially in Reformed private music societies ( collegia musica ).
List of Figures
List of Tables
List of Music Examples
List of Archival Sources
Acknowledgements
Abbreviations
Introduction
1Music in the Confessional Age
2Approaching the Other
3The Book Market
4The 'Collegia Musica'
5Conclusions: Music as an Agent of Toleration?
List of Tables
List of Music Examples
List of Archival Sources
Acknowledgements
Abbreviations
Introduction
1Music in the Confessional Age
2Approaching the Other
3The Book Market
4The 'Collegia Musica'
5Conclusions: Music as an Agent of Toleration?