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Origines consortis erant in grege<!-- +amateur--> purpuratorum<!--=courtiers--> gravissimorum qui pro se intra [[musica secreta|musicam secretam]] ducis [[decennium 158|decennio 158]] haud sollemni more perfungebantur. Consors tum factus est grex professionalium musicorum [[femina (sexus)|feminorum]], ''concerto delle donne,'' qui concentus<!--+formal--> pro personis interioris curiae circuli hospitibusque magni momenti praebuerunt. Eorum modus usitatus, qui concentum<!--=harmonious singing--> floridum et ornamentatissimum vehementius dixit, Ferrariam gloriá adfecit, [[compositor]]esque illius temporis penitus movit.
Origines consortis erant in grege<!-- +amateur--> purpuratorum<!--=courtiers--> gravissimorum qui pro se intra [[musica secreta|musicam secretam]] ducis [[decennium 158|decennio 158]] haud sollemni more perfungebantur. Consors tum factus est grex professionalium musicorum [[femina (sexus)|feminorum]], ''concerto delle donne,'' qui concentus<!--+formal--> pro personis interioris curiae circuli hospitibusque magni momenti praebuerunt. Eorum modus usitatus, qui concentum<!--=harmonious singing--> floridum et ornamentatissimum vehementius dixit, Ferrariam gloriá adfecit, [[compositor]]esque illius temporis penitus movit.


''Concerto delle donne'' statum [[mulier]]um in musica professionali incitavit, et locum curiae [[Domus Hestensis|Hestensis]] ut situs musicus continuavit.<!-- Word of the ladies' ensemble spread across Italy, inspiring imitations in the powerful courts of the [[Medices]] et [[Orsini]].--> Consors conditus in profana musica Italica [[saeculum 16|saeculo sexto decimi]] exeunte fuit gravissima res, musicaeque res mutatae<!--innovations--> in curia institutae magnam partem in evolutione [[madrigalis]] et deinde ''[[secunda practica]]'' egerunt.<ref>Pendle, p. 83, a Newcomb (1980) iteratum.</ref><!--Plus in en:-->
''Concerto delle donne'' statum [[mulier]]um in musica professionali incitavit, et locum curiae [[Domus Hestensis|Hestensis]] ut situs musicus continuavit.<!-- Word of the ladies' ensemble spread across Italy, inspiring imitations in potentibus [[Medices|Medicum]] et [[Orsini|Orsinorum]] curiis.--> Consors conditus in profana musica Italica [[saeculum 16|saeculo sexto decimi]] exeunte fuit gravissima res, musicaeque res mutatae<!--innovations--> in curia institutae magnam partem in evolutione [[madrigalis]] et deinde ''[[secunda practica]]'' egerunt.<ref>Pendle, p. 83, a Newcomb (1980) iteratum.</ref><!--PLUS IN EN:-->


[[Barbara Strozzi]] fuit [[unus|una]] ex ultimis huius modi [[compositor]]ibus et perfunctoribus, qui ante medium [[saeculum 17|saeculum septimum decimum]] antiquum iam habebatur.<ref name="Springfels"/>
[[Barbara Strozzi]] fuit [[unus|una]] ex ultimis huius modi [[compositor]]ibus et perfunctoribus, qui ante medium [[saeculum 17|saeculum septimum decimum]] antiquum iam habebatur.<ref name="Springfels"/>
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*LaMay, Thomasin. [[2002]]. Madalena Casulana: My body knows unheard of songs. In ''Gender, Sexuality, and Early Music,'' ed. Todd Borgerding, 41–72. ISBN 0-8153-3394-3.
*LaMay, Thomasin. [[2002]]. Madalena Casulana: My body knows unheard of songs. In ''Gender, Sexuality, and Early Music,'' ed. Todd Borgerding, 41–72. ISBN 0-8153-3394-3.
*Newcomb, Anthony. [[1980]]. ''The Madrigal at Ferrara, 1579–1597.'' Princetoniae: Princeton University Press. ISBN 0-691-09125-0.
*Newcomb, Anthony. [[1980]]. ''The Madrigal at Ferrara, 1579–1597.'' Princetoniae: Princeton University Press. ISBN 0-691-09125-0.
*Newcomb, Anthony.[[1986]]. Courtesans, Muses, or Musicians: Professional women musicians in sixteenth-century Italy. In ''Women Making Music: The Western Musical Tradition, 1150–1950,'' ed. J. Bowers et J. Tick, 90–115. Urbanae Illinoesiae. ISBN 0-252-01470-7.
*Newcomb, Anthony. [[1986]]. Courtesans, Muses, or Musicians: Professional women musicians in sixteenth-century Italy. In ''Women Making Music: The Western Musical Tradition, 1150–1950,'' ed. J. Bowers et J. Tick, 90–115. Urbanae Illinoesiae. ISBN 0-252-01470-7.
*Pendle, Karin. [[2001]]. ''Women and Music: A History.'' Bloomington: Indiana University Press. ISBN 0-253-21422-X.
*Pendle, Karin. [[2001]]. ''Women and Music: A History.'' Bloomington: Indiana University Press. ISBN 0-253-21422-X.
*{{cite journal
*{{cite journal
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*{{cite web | url = http://www.newberry.org/consort/daughtersofmuseprogram.html | title = Newberry Consort Repertoire - Daughters of the Muse | accessdate = July 11, 2006 | last = Springfels | first = Mary | publisher = Newberry Library | archiveurl = http://web.archive.org/web/20060513035130/http://www.newberry.org/consort/daughtersofmuseprogram.html | archivedate = 13 Maii 2006 }}
*{{cite web | url = http://www.newberry.org/consort/daughtersofmuseprogram.html | title = Newberry Consort Repertoire - Daughters of the Muse | accessdate = [[11 Iulii]] [[2006]] | last = Springfels | first = Mary | publisher = Newberry Library | archiveurl = http://web.archive.org/web/20060513035130/http://www.newberry.org/consort/daughtersofmuseprogram.html | archivedate = [[13 Maii]] [[2006]].}}


==Nexus externi==
==Nexus externi==
*[http://www.soton.ac.uk/~lastras/secreta/ Situs Laurie Stras,] apud http://www.soton.ac.uk/
*[http://www.soton.ac.uk/~lastras/secreta/ Situs Laurie Stras,] apud www.soton.ac.uk


{{DEFAULTSORT:Concerto Delle Donne}}
{{DEFAULTSORT:Concerto Delle Donne}}

Emendatio ex 17:52, 28 Iulii 2012

Pagina secunda carminis O dolcezz'amarissime d'amore, seriem cursuum inter tres partes supranorum cum succentu continet. Musica in tribus clavibus supranis (contra claves triplas) scribitur et notas tricensimas secundas vehementius dicit.
Scudi? aurei sodalibus concerto delle donne repraesentati sunt. Tales nummi, pro curia Hestensi signati, erant communes in Dicione Pontificia.
Quintus Liber Madrigalium pro quinque vocibus a Luzzasco Luzzaschi compositus (Ferrariae, 1595), impressioni Victorii Baldini et praesidio Alphonsi II Hestensis gratias agit.

Concerto delle donne (Italiane; nostra lingua 'consors feminarum' vel fortasse 'symphonia dominarum') fuit grex cantricum professionalium quae in curia Ferrariae Renascentia exeunte perfunctae sunt, sollertiá technicá et artisticá celebres. Consors ab Alphonso II, Duce Ferrariae, anno 1580 conditus est, et donec curia dissoluta est, anno 1597, duravit. Iacobus Vincenti, qui libros musicos edendos curavit, mulieres virtuose giovani (virtuosae iuvenes) laudavit, opiniones diaristarum et commentatorum illius temporis confirmans.[1]

Origines consortis erant in grege purpuratorum gravissimorum qui pro se intra musicam secretam ducis decennio 158 haud sollemni more perfungebantur. Consors tum factus est grex professionalium musicorum feminorum, concerto delle donne, qui concentus pro personis interioris curiae circuli hospitibusque magni momenti praebuerunt. Eorum modus usitatus, qui concentum floridum et ornamentatissimum vehementius dixit, Ferrariam gloriá adfecit, compositoresque illius temporis penitus movit.

Concerto delle donne statum mulierum in musica professionali incitavit, et locum curiae Hestensis ut situs musicus continuavit. Consors conditus in profana musica Italica saeculo sexto decimi exeunte fuit gravissima res, musicaeque res mutatae in curia institutae magnam partem in evolutione madrigalis et deinde secunda practica egerunt.[2]

Barbara Strozzi fuit una ex ultimis huius modi compositoribus et perfunctoribus, qui ante medium saeculum septimum decimum antiquum iam habebatur.[3]

Notae

  1. ↑ Harris.
  2. ↑ Pendle, p. 83, a Newcomb (1980) iteratum.
  3. ↑ Lapsus in citando: Invalid <ref> tag; no text was provided for refs named Springfels

Bibliographia

  • Ex Grove Music Online, ed. L. Macy, grovemusic.com. Accessum 11 Aprilis 2006.
    • Bianconi, Lorenzo. "Carlo Gesualdo."
    • Carter, Tim. "Caccini(1) Giulio Romolo Caccini 1. Life."
    • Chew, Geoffrey. "Claudio Monteverdi 7. Early Works."
    • Fenlon, Iain. "Ippolito Fiorini."
    • Fenlon, Iain. "Lodovico Agostini."
    • Harris, Ellen T. "Virtuosa."
    • Hitchcock, H. Wiley. "Caccini(2) Francesca Caccini."
    • Newcomb, Anthony. "Tarquinia Molza."
    • Tick, Judith. "Women in music, §II: Western classical traditions in Europe & the USA 3. 1500–1800."
    • Whenham, John "Orfeo (i)." (Grove Opera).
  • Clapton, Nicholas. 2006. Machines made for singing. Programma. Handel House Museum.
  • Haskell, Francis. 1980. Patrons and Painters: A study in the relations between Italian Art and Society in the Age of the Baroque. Portu Novo et Londinii: Yale University Press. ISBN 0-300-02540-8.
  • Knighton, Tess, et David Fallows. 1998. Companion to Medieval and Renaissance music. Berkeleiae: University of California Press. ISBN 0-520-21081-6.
  • LaMay, Thomasin. 2002. Madalena Casulana: My body knows unheard of songs. In Gender, Sexuality, and Early Music, ed. Todd Borgerding, 41–72. ISBN 0-8153-3394-3.
  • Newcomb, Anthony. 1980. The Madrigal at Ferrara, 1579–1597. Princetoniae: Princeton University Press. ISBN 0-691-09125-0.
  • Newcomb, Anthony. 1986. Courtesans, Muses, or Musicians: Professional women musicians in sixteenth-century Italy. In Women Making Music: The Western Musical Tradition, 1150–1950, ed. J. Bowers et J. Tick, 90–115. Urbanae Illinoesiae. ISBN 0-252-01470-7.
  • Pendle, Karin. 2001. Women and Music: A History. Bloomington: Indiana University Press. ISBN 0-253-21422-X.
  • Sherr, Richard (Spring 1980). "Gugliemo Gonzaga and the Castrati" (Journal). Renaissance Quarterly (Renaissance Society of America) 33 (1): pp. 33–56 
  • Springfels, Mary. "Newberry Consort Repertoire - Daughters of the Muse". Newberry Library 

Nexus externi

Receptum de "https://la.wikipedia.org/w/index.php?title=Concerto_delle_donne&oldid=2098609"