- Series: Oxford Monographs on Music
- Hardcover: 576 pages
- Publisher: Clarendon Press; 1 edition (August 1, 1996)
- Language: English
- ISBN-10: 0198164084
- ISBN-13: 978-0198164081
- Product Dimensions: 6.5 x 1.4 x 9.5 inches
- Shipping Weight: 2.5 pounds (View shipping rates and policies)
- Average Customer Review: Be the first to review this item
- Amazon Best Sellers Rank: #6,859,852 in Books (See Top 100 in Books)
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Celestial Sirens: Nuns and Their Music in Early Modern Milan (Oxford Monographs on Music) 1st Edition
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"Intriguing....This book contains a wealth of newly published archival information that will interest anyone concerned with ritual and performance circumstances of polyphonic music in women's religious orders during this important period in musical history."--Choice
"Kendrick's ability to navigate the larger currents of sixteenth-and seventeenth-century Milanese culture in order to contextualize the practices of the city's female monasteries is only one of the many strengths of this impressive study....Celestial Sirens is an essential addition to the library of any historian with an interest in the sacred music of Seicento Italy."--Journal of the American Musicological Society
"[Kendrick's] skills as social historian and musicologist are clearly evident and well exercised, making his work a sound contribution in both fields."--Church History
"...Kendrick provides the English-speaking reader with an erudite exploration into the subject of nuns' music...[his] praiseworthy achievement will prompt further exploration of this complex history and bring to light more of the compositions of these musical women inside the cloister."--The Catholic Historical Review
From the Back Cover
This study investigates an almost unknown musical culture: that of the cloistered nuns in one of the major cities of early modern Europe. These women were the most famous musicians of Milan, and the music composed for them opens up a hitherto unstudied musical repertory, which allows insight into the symbolic world of the city. Even more importantly, the music actually composed by four such nuns - Claudia Sessa, Claudia Rusca, Chiara Margarita Cozzolani, and Rosa Giacinta Badella - reveals the musical expression of women's own devotional life. The two centuries of battles over nuns' singing of polyphony, studied here for the first time on the basis of archival documentation, also suggest that the implementation of reform in the major centre of post-Tridentine Catholic renewal was far more varied, incomplete, subject to local political pressure and individual interpretation, and short-lived than has commonly been assumed. Other factors that marked these women's musical lives and creative output - liturgical traditions of the religious orders, the problems of performance practice attendant upon all-female singing ensembles - are here addressed for the first time in the musicological literature.
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