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Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice (Calendar of Venetian Opera)
 
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Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice (Calendar of Venetian Opera) (Hardcover)

by Eleanor Selfridge-Field (Author)
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Customers buy this book with A New Chronology of Venetian Opera and Related Genres, 1660-1760 (Calendar of Venetian Opera) by Eleanor Selfridge-Field

Song and Season: Science, Culture, and Theatrical Time in Early Modern Venice (Calendar of Venetian Opera) + A New Chronology of Venetian Opera and Related Genres, 1660-1760 (Calendar of Venetian Opera)
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A New Chronology of Venetian Opera and Related Genres, 1660-1760 (Calendar of Venetian Opera)

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by Eleanor Selfridge-Field
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Product details

  • Hardcover: 400 pages
  • Publisher: Stanford University Press (15 Nov 2007)
  • Language English
  • ISBN-10: 0804757658
  • ISBN-13: 978-0804757652
  • Product Dimensions: 22.9 x 15 x 3 cm
  • Average Customer Review: No customer reviews yet. Be the first.
  • Amazon.co.uk Sales Rank: 1,330,315 in Books (See Bestsellers in Books)

Product Description

Review

""Song and Season" is a work of history, in that it reconstructs on a documentary basis the calendrical system that underlies the theatrical life of Venice, the city which played a central role in the development of opera. "Song and Season" is also an essay in historical anthropology, discussed with perspicacity and expertise. It demonstrates the ways in which the theater, as an institution, benefited from both social habit and civic custom. It could not illustrate better the intertwining of civil, political, economic, and intellectual motives that underlay the role of operatic performance in the life of the "Serenissima,"" --Lorenzo Bianconi, University of Bologna


Product Description

Two systems of timekeeping were in concurrent use in Venice between 1582 and 1797. Government documents conformed to the Venetian year (beginning 1 March), church documents to the papal year (from 1 January). "Song and Season" defines the many ways in which time was discussed, resolving a long-standing fuzziness imposed on studies of personnel, institutions, and cultural dynamics by dating conflicts. It is in this context that the standardization of timekeeping coincided with the collapse of the dramma per musica and the rise of scripted comedy and the opera buffa. Selfridge-Field discloses fascinating relationships between the musical stage and the cultures it served, such as the residues of medieval liturgical feasts embedded in the theatrical year. Such associations were transmuted into lingering seasonal associations with specific dramatic genres. Interactions between culture and chronology thus operated on both general and specific levels. Both are fundamental to understanding theatrical dynamics of the sixteenth to eighteenth centuries.

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