- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article describes what it was like to attend the very first operas that were composed and performed during the early seventeenth century and were made popular in the commercial theaters in Venice. It studies the complications of early opera placed upon composers and dramatists, and shows that female voices in the opera were “echoed” by the female singers in convents. The carnival mask, the comic theater, and the influence of the Jesuits are discussed. The latter portion of the article focuses on the changes that occurred in the Venetian theaters during the seventeenth century.
Edward Muir is the Clarence L. Ver Steeg Professor in the Arts and Sciences and holds a Charles Deering McCormick Professorship of Teaching Excellence at Northwestern University. Besides receiving Guggenheim and NEH fellowships, he has been a fellow at the Harvard University Center for Italian Renaissance Studies at Villa I Tatti, the Institute for Advanced Study, and the National Humanities Center. He is a general editor of the book series Palgrave Early Modern History: Culture and Society and the series editor for the I Tatti Italian Renaissance History monograph series with Harvard University Press. He is the author of Civic Ritual in Renaissance Venice, which won the Adams and Marraro prizes, and Mad Blood Stirring: Vendetta in Renaissance Italy, which also won the Marraro Prize.
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