Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII

Hammond, Frederick; Byrne, Joseph P.

doi:10.1080/03612759.1995.9949183

Cited by 11 publications

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“…Pageantry was fundamental to the cultural life of the city ( [27], p. 51). Grand processions wound through the city for important events, notably the possesso, the culminating event in the coronation of a new pope ( [36], p. 43). Confraternities and pilgrims regularly paraded through the city ( [37], p. 116).…”

Section: Spectaclesmentioning

confidence: 99%

Pressing Metal, Pressing Politics: Papal Annual Medals, 1605–1700

Averett

2016

Religions

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This article surveys images depicted on the reverses of papal annual medals in the seventeenth century, beginning in 1605 under Paul V (r. 1605-21) with the first confirmed annual medal, and ending in 1700 at the conclusion of the papacy of Innocent XII (r. 1691-1700), a reign that marked a distinct change in papal politics in advance of the eighteenth century. The article mines a wealth of numismatics images and places it within a narrative of seventeenth-century papal politics. In the ninety-six years under consideration, ten popes issued ninety-four annual medals (sede vacante produced generic annual medals in 1667 and 1691). Annual medals are a unique iteration of papal commemorative medals and they celebrate an important papal achievement from the preceding year. The production of annual medals was an exercise in identity creation, undertaken to advance the image of the pope as an aristocratic prince in three specific roles: as builder, warrior, and impresario. The timeliness of the medals makes them valuable sources to gauge the perceived success of the papacy on an annual basis and to chart the political course plotted by popes through the seventeenth century.

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Section: Spectaclesmentioning

confidence: 99%

Pressing Metal, Pressing Politics: Papal Annual Medals, 1605–1700

Averett

2016

Religions

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Bad Latin, Bad Manners: Giovanni Battista Doni, Marin Mersenne, and Literary Style in Seventeenth-Century Music Theory

Bianchi¹

2015

Music and Letters

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It’s Not About the Cut: The Castrato’s Instrumentalized Song

Gordon¹

2015

nlh

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In 2009, the opera singer Cecilia Bartoli released the album Sacrificium , a sleek collection of music that castrati sang in the eighteenth century. Castrati—adult men castrated before puberty in order to retain their high soprano voices—had extraordinary breath control, a pure tone, and an unusually flexible vocal instrument. In promotional materials, Bartoli characterized Sacrificium as “a work dedicated to ‘castratos’ and the music that their magic voices inspired … The title of the album refers to the sacrifice castratos did for the sake of music stance lay in the production of voice and the technique necessary to produce the required sound. This essay uses the castrato to shift the conversation in this special issue of NLH from song to the materials of song, i.e., voice and sound, and to position the human voice as instrumentalized matter. The castrato serves as a site for unpacking very unstable notions of voice, matter, instrument, and machine. Because the castrato voice was so explicitly made by surgeons, teachers, and the singers themselves, it foregrounds the technical practices and materials that make any song possible. This pushes against critical discussions of song that too frequently begin from poetry and attempt to explain why song differs from and exceeds language. Shifting the terms from song to singing and then to voice serves as a corrective to a Western philosophical tradition that has for centuries been invested in the return of an Arcadian ideal: an originary fusing of word and song, torn apart by modernity. The castrato voice puts pressure on that fantasy of a time when lyric and song were one, on the spiritualized concept of the voice that comes with it. An alternative reading to this philosophical understanding of the voice, which runs through Plato and Aristotle to Augustine and early modern anatomists, and finally to Freud and Derrida, arises when we situate the voice as sounding instrument alongside other materialities such as organs, scientific instruments, and body parts.

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Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII

Cited by 11 publications

References 0 publications

Pressing Metal, Pressing Politics: Papal Annual Medals, 1605–1700

Pressing Metal, Pressing Politics: Papal Annual Medals, 1605–1700

Bad Latin, Bad Manners: Giovanni Battista Doni, Marin Mersenne, and Literary Style in Seventeenth-Century Music Theory

It’s Not About the Cut: The Castrato’s Instrumentalized Song

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