The Civic Muse: Music and Musicians in Siena during the by Frank A. D'Accone

By Frank A. D'Accone

Siena, blessed with neither the aristocratic nor the ecclesiastical patronage loved through song in different northern Italian facilities like Florence, however attracted nice composers and performers from everywhere Europe. As Frank A. D'Accone indicates during this scrupulously documented learn, guidelines constructed by way of the city to want the typical sturdy shaped the root of Siena's formidable musical programs.Based on many years of study within the town's records, D'Accone's The Civic Muse brilliantly illuminates either the sacred and the secular points of greater than 3 centuries of song and music-making in Siena. After detailing the historical past of track and liturgy at Siena's well-known cathedral and of civic song on the Palazzo Pubblico, D'Accone describes the the most important position that track performed within the lifestyle of the city, from public festivities for international dignitaries to personal musical guideline. placing Siena squarely at the Renaissance musical map, D'Accone's huge learn will curiosity either musicologists and historians of the Italian Renaissance.

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Extra info for The Civic Muse: Music and Musicians in Siena during the Middle Ages and the Renaissance

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66 A special provision forbade annulments, cancellations, or additions to them under penalty of a fine (Constitutiones, rub. 52). To judge from subsequent events, the Constitutions continued in force through most of the sixteenth century. They were in fact approved for publication by the cathedral's canons and Chapter on 9 April 1578 and printed by Luca Bonetti of Siena in the following year together (footnote continued from previous page) refers to a privilege issued on 24 November 1228 by Pope Gregory IX dei conti di Segni that confirms the number of Sienese canons as twelve.

8 New choir stalls are mentioned in November 1259, and the reconstructed high altar was in place before the eve of the historic battle of Montaperti in November 1260, when the solemn ceremony in which the Sienese dedicated their city to the Virgin took place before it. The high altar was the site of a different kind of ceremony in June 1311, when amid great rejoicing Duccio's Maestà was placed on it. 9 Though the altar was moved once and perhaps twice in later years, the painting remained on it for almost two centuries.

Few traces remain of the building that figures so prominently in Oderigo's account. 8 New choir stalls are mentioned in November 1259, and the reconstructed high altar was in place before the eve of the historic battle of Montaperti in November 1260, when the solemn ceremony in which the Sienese dedicated their city to the Virgin took place before it. The high altar was the site of a different kind of ceremony in June 1311, when amid great rejoicing Duccio's Maestà was placed on it. 9 Though the altar was moved once and perhaps twice in later years, the painting remained on it for almost two centuries.

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