Music in the Collective Experience in Sixteenth-century MilanRenaissance music, like its sister arts, was most often experienced collectively. While it was possible to read Renaissance polyphony silently from a music manuscript or print, improvize alone, or perform as a soloist, the very practical nature of Renaissance music defied individualism. The reading and improvisation of polyphony was most frequently achieved through close co-operation, and this mutual endeavour extended beyond the musicians to include the society to which it is addressed. In sixteenth-century Milan, music, an art traditionally associated with the court and cathedral, came to be appropriated by the old nobility and the new aristocracy alike as a means of demonstrating social primacy and newly acquired wealth. As class mobility assumed greater significance in Milan and the size of the city expanded beyond its Medieval borders, music-making became ever more closely associated with public life. |
Other editions - View all
Music in the Collective Experience in Sixteenth-Century Milan Christine Suzanne Getz Limited preview - 2023 |
Music in the Collective Experience in Sixteenth-Century Milan Christine Suzanne Getz No preview available - 2023 |
Music in the Collective Experience in Sixteenth-Century Milan Christine Suzanne Getz No preview available - 2016 |
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