Michela Berti (16 results)

paperback. Condition: New. 1st.

Condition: New.

Paperback. Condition: new. Paperback. The thirty chapters in this book are based on the work of an international, multidisciplinary team of researchers and archivists brought together for the PerformArt project, funded by the European Research Council from 2016 to 2022. This project investigated the artistic patronage of the great Roman aristocratic families of the seventeenth and eighteenth centuries through research in the extant archives. After the accession to the papal throne of Innocent X in 1644, and more so after the Peace of the Pyrenees in 1659 - which led to a greater loss of power for the pope in his relations with other European states - the Roman families stepped up their efforts to assert their social preeminence not only through architecture and the fine arts, but also through the ephemeral performing arts: music, theatre, and dance, which were omnipresent throughout the year and especially during the intense period of artistic production that was the Roman Carnival. The search for traces of these spectacles in the archives of these families reveals that their desire to display their magnificence - an ideal well documented in the literature of the period - gave rise to lavish expenditure on a scale that could only be justified by the benefits (if not tangible, then at least symbolic) they hoped to gain. The essays in this book, which draw on social economic history, the history of ideas, and the evolving artistic practices of the time, make a major contribution to our knowledge of courtly societies in Ancien Regime Europe by integrating the performing arts into their analyses in innovative ways. The thirty chapters of this book present the results of research carried out by an international, multidisciplinary team in the archives of Roman families, focusing on musical, theatrical, and choreographic productions in Rome between 1644 and 1740, viewed through the lens of magnificence. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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paperback. Condition: New. 1st.

Condition: New.

Condition: New.

Paperback. Condition: new. Paperback. Important centres of charity, hospitality and representation, the national churches of Rome were also major hubs of musical production. This collective work is the fruit of several years of largely unpublished research on the musical life of these institutions, considered for the first time as a whole. What it primarily brings to light is the common model which emerged from the interactions between the national churches, as well as between these and other Roman churches, in musical matters - eloquent example of a unifying cultural paradigm. The repertories used by these churches, the ceremonies and celebrations they orchestrated in the teatro del mondo which Rome constituted at the time, their role in the placing of musicians within the city's professional networks are just some of the themes explored in this work. The cultural exchanges between the national churches and the "nations" that they represented in the pontifical city form another important area of investigation: whether musical or devotional, connecting places of worship and private palaces or extending from one side of the Alps to the other, these exchanges reveal the permeability that characterised many national traditions. At the heart of this richly illustrated study are two fundamental lines of inquiry: the fi rst concerns the processes of identity construction developed by communities installed in foreign lands, the second line of inquiry is cultural hybridity. In pursuing these, we aim to further understanding of the dialectics of exchange at work in Rome during the modern period. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condition: As New. Unread book in perfect condition.

Condition: New.

Condition: New. 2020. Paperback. . . . . .

Condition: New. 2020. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condition: new. Paperback. The thirty chapters in this book are based on the work of an international, multidisciplinary team of researchers and archivists brought together for the PerformArt project, funded by the European Research Council from 2016 to 2022. This project investigated the artistic patronage of the great Roman aristocratic families of the seventeenth and eighteenth centuries through research in the extant archives. After the accession to the papal throne of Innocent X in 1644, and more so after the Peace of the Pyrenees in 1659 - which led to a greater loss of power for the pope in his relations with other European states - the Roman families stepped up their efforts to assert their social preeminence not only through architecture and the fine arts, but also through the ephemeral performing arts: music, theatre, and dance, which were omnipresent throughout the year and especially during the intense period of artistic production that was the Roman Carnival. The search for traces of these spectacles in the archives of these families reveals that their desire to display their magnificence - an ideal well documented in the literature of the period - gave rise to lavish expenditure on a scale that could only be justified by the benefits (if not tangible, then at least symbolic) they hoped to gain. The essays in this book, which draw on social economic history, the history of ideas, and the evolving artistic practices of the time, make a major contribution to our knowledge of courtly societies in Ancien Regime Europe by integrating the performing arts into their analyses in innovative ways. The thirty chapters of this book present the results of research carried out by an international, multidisciplinary team in the archives of Roman families, focusing on musical, theatrical, and choreographic productions in Rome between 1644 and 1740, viewed through the lens of magnificence. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Condition: new. Paperback. Important centres of charity, hospitality and representation, the national churches of Rome were also major hubs of musical production. This collective work is the fruit of several years of largely unpublished research on the musical life of these institutions, considered for the first time as a whole. What it primarily brings to light is the common model which emerged from the interactions between the national churches, as well as between these and other Roman churches, in musical matters - eloquent example of a unifying cultural paradigm. The repertories used by these churches, the ceremonies and celebrations they orchestrated in the teatro del mondo which Rome constituted at the time, their role in the placing of musicians within the city's professional networks are just some of the themes explored in this work. The cultural exchanges between the national churches and the "nations" that they represented in the pontifical city form another important area of investigation: whether musical or devotional, connecting places of worship and private palaces or extending from one side of the Alps to the other, these exchanges reveal the permeability that characterised many national traditions. At the heart of this richly illustrated study are two fundamental lines of inquiry: the fi rst concerns the processes of identity construction developed by communities installed in foreign lands, the second line of inquiry is cultural hybridity. In pursuing these, we aim to further understanding of the dialectics of exchange at work in Rome during the modern period. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

paperback. Condition: New. NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Condition: NEW. Roma: Società editrice di musicologia, 2025 9788885780248 Saggi 14 809 N vol.: 1, N pag.: 464, W: 14.8 Questo volume ricostruisce in modo sistematico la vita musicale presso la chiesa nazionale di S. Luigi dei Francesi a Roma nel corso del XVIII secolo, attraverso un'accurata analisi delle fonti archivistiche conservate presso l'archivio dei Pieux Établissements de la France à Rome et à Lorette. Articolato in tre parti, il libro indaga la trasformazione della musica liturgica dopo la soppressione della cappella stabile, mettendo in luce il ruolo centrale delle musiche straordinarie nella costruzione del prestigio celebrativo della nazione francese. Particolare attenzione è riservata alla riflessione metodologica: la puntualizzazione di concetti come festa, cerimonia straordinaria e musica straordinaria si rivela strumento essenziale per leggere e interpretare un sistema rituale codificato ma ricco di implicazioni culturali, sociali e politiche, mentre la distinzione tra fonti volontarie e involontarie consente di cogliere con maggiore precisione la struttura profonda delle celebrazioni musicali. Attraverso un costante incrocio tra cronaca e contabilità, tra documentazione programmatica e tracce marginali, il volume offre una nuova chiave interpretativa per comprendere il significato della liturgia musicale in una Roma internazionale e stratificata. Questo volume ricostruisce in modo sistematico la vita musicale presso la chiesa nazionale di S. Luigi dei Francesi a Roma nel corso del XVIII secolo, attraverso un'accurata analisi delle fonti archivistiche conservate presso l'archivio dei Pieux Établissements de la France à Rome et à Lorette. Articolato in tre parti, il libro indaga la trasformazione della musica liturgica dopo la soppressione della cappella stabile, mettendo in luce il ruolo centrale delle musiche straordinarie nella costruzione del prestigio celebrativo della nazione francese. Particolare attenzione è riservata alla riflessione metodologica: la puntualizzazione di concetti come festa, cerimonia straordinaria e musica straordinaria si rivela strumento essenziale per leggere e interpretare un sistema rituale codificato ma ricco di implicazioni culturali, sociali e politiche, mentre la distinzione tra fonti volontarie e involontarie consente di cogliere con maggiore precisione la struttura profonda delle celebrazioni musicali. Attraverso un costante incrocio tra cronaca e contabilità, tra documentazione programmatica e tracce marginali, il volume offre una nuova chiave interpretativa per comprendere il significato della liturgia musicale in una Roma internazionale e stratificata.