{"product_id":"song-and-season-9780804757652","title":"Song and Season","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eTwo systems of timekeeping were in concurrent use in Venice between 1582 and 1797. This work 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"Eleanor Selfridge-Field's \u003ci\u003eSong and Season: Science, Culture, and Theatrical Time in Early Modern Venice\u003c\/i\u003e offers much to commend itself to readers from diverse disciplines . . . [H]er fastidious reading of cultural materiality sheds light on the intricate interrelationships among Venetian science, religion, politics, and trade that gave birth to a time keeping paradigm that seems mandarinly abstruse from this historic distance, but was, as her evidence suggests, naturalized in the quotidian negotiations of the everyday.\" -- Mary Schmelzer * \u003ci\u003eKronoScope\u003c\/i\u003e *\u003cbr\u003e\"The collective material in [Selfridge-Field's] books adds significantly to a field laden with myths and misconceptions. Together, they contain much detailed information unavailable elsewhere. They are a major contribution to musicology and bring important understanding to the cultural history of Venice more generally . . . Penetrating the accretions of legend that still surround the Serene Republic will require the kind of painstaking archival work that Selfridge-Field has been engaged in across Europe for the last twenty years. Her conclusions are circumscribed, and she keeps herself scrupulously close to the sources. The results of such patient digging will be of lasting value to scholars.\" -- James H. Johnson * Boston University, \u003ci\u003eEighteenth-Century Studies\u003c\/i\u003e *\u003cbr\u003e\"What a wonderful resource for lovers of \u003ci\u003eLa Serenissima\u003c\/i\u003e. These books give one a terrific sense of the place and its vibrant culture. One wants to travel back in time to be a part of it.\" -- Nicholas McGegan, Music Director * Philharmonia Baroque Orchestra *\u003cbr\u003e\"\u003ci\u003eSong and Season\u003c\/i\u003e 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. \u003ci\u003eSong and Season\u003c\/i\u003e 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 \u003ci\u003eSerenissima\u003c\/i\u003e.\" -- Lorenzo Bianconi * University of Bologna *\u003cbr\u003e\"I admire the equal provisions for a grand synthesis and for minutely detailed explications, and, above all, the originality of this work. To illustrate this point, I refer the reader to the temporal-cum-functional subdivision of the Venetian autumn and winter seasons—an innovation which, I predict, will soonbecome part of the general discourse on Venetian opera.\" -- Michael Talbot * University of Liverpool *\u003cbr\u003e\"Many readers will find their needs met by the \u003ci\u003eNew Chronology\u003c\/i\u003e, with its concise introduction to Venice's theatrical seasons and repertory; those wanting full or detailed information on time and its measurement, the definition of the theatrical seasons or the relation between these and Venetian society and customs in general will have to consult \u003ci\u003eSong and Season\u003c\/i\u003e.\" -- \u003ci\u003eEarly Music\u003c\/i\u003e\u003cbr\u003e\"This book is a fascinating study of temporal organization, its management and its consequences, with great relevance for our own time-obsessed culture.For any scholar undertaking archival research in Venice it is, of course an invaluable source of information.\" -- \u003ci\u003eEighteenth-Century Music\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents   Illustrations Figures Tables Abbreviations and Citations Preface   8 9 10 12 15   Part One. Marking Time   I. Venice's Years 1.1. Christendom's Year 1.2. The Liturgical Year 1.3. The Ducal Year 104. The   Accounting Year 1.5. The Academic Year 1.6. The Virtual Year   21 22 29 32 34 35 36 38 38 45 46 46 49 50 50   2. Calendrical Markers and Their Cultural Foundations 2.1. Civic Markers 2.2. Liturgical   Markers 2.3. Actuarial Markers 204. Rites of Political Passage 2.5. Civic and Diplomatic Feasts   2.6. Ducal Feasts 2.7. Double Feasts   3. Venice's Days and Hours 3.1. The Mobile Day 3.2. Civic Clocks   54 54 56   4   SONG AND SEASON   3.3. Religious Hours 304. Solar Time 3.5. Civic Bells 3.6. Bell-ringing Schedules 3.7. Hour-  Glass Time 3.8. Workers' and Artisans' Bells 3.9. Timekeeping Reforms 3.10. The Emergence of   Modern Timekeeping 3.11. Modern Equivalents for Venetian Time 3.12. Post-Republican Time   Part Two. Using Time 4. Theatrical Culture and Theatrical Time 4.1. Commedia and Theatrical   Culture   4.2. Gambling and the Theater 4.3. Government Constraints on Productions 404. Economic   Change and the Theater 4.5. Patronage Models and Practices 4.6. First, Last, and Ordinary   Nights 4.7. Carnival as a State of Mind 4.8. Carnival as a Time of Year 4.9. Masking by the   Hour 4.10. Pseudo-Carnival Days 4.11. Dating to the Day   5. Theatrical Periods and Seasons 5.1. A Composite Model of the Theatrical Year 5.2. Autumn   Autumn as a Comedy Season (119); Autumn as an Opera Season (120); The St. Luke's Period   (120); The St. Martin's Period (121) 5.3. Advent   The St. Andrew's Period (124); The Novena of Christmas (125)   59 62 63 65 69 72 74 78 80 83   87 87 93 98 101 102 105 106 107 109 III 112 115 115 119   124   SONG AND SEASON   504. Winter The St. Stephen's Period (127); Carnival (132); Fat Week (134); Last Nights of   Carnival (136); Last-Night Theatrical Banquets and Balls (137); Last \"Days\" vs. Last \"Nights\"   (140) 5.5. Spring 5.6. Ternporal Dimensions of Productions 5.7. External Proofs of the   Composite Model 6. Theatrical Specialization by Period 6.1. San Cassiano 6.2. SS. Giovanni e   Paolo 6.3. San Moise 604. San Salvatore 6.5. San!' Angelo 6.6. San Giovanni Grisostomo 6.7.   Piazzola 6.8. San Samuele 6.9. San Fantin and Other Small Theaters 6.10. San Benedetto and the   Teatro La Fenice 6.11. Composite Production Profiles   7. Seasonal Reciprocity 7.1. Opera for Provincial Fairs Autumn Venues (181); Spring Venues   (188) 7.2. Dramatic Music in Private Venues Solo Motets (195); Oratorios (196); Cantatas (197);   Serenatas (198); Private Concerts (199); Rehearsals (200); Contributions by Amateurs (200) 7.3.   Dramatic Music in Non-Theatrical Periods Advent and the Novena of Christmas (20 I); Lent   (202); Eastertide (203); The St. Anthony's Period (204); The Assumption Period (205); Autumn   Villeggiatura (205)   8. Season and Genre 8.1. Venice as a Metaphorical Stage 8.2. Opera as Commedia   5   126   143 148 149   151 152 156 157 158 160 162 166 168 169 173 174 176 176   195   201   206 206 209   6   SONG AND SEASON   8.3. Comedy, Tragedy, and Arcadian Reforms The Reform of the Dramma per musica (210);   The Revival of the Classical Tragedia (211); The Grimani vs. the Vendramin (213); Effects of   the Grimani-Vendramin Contracts (219) 804. Transitions and Gestations Comedies with Music;   Imer and Gori (220); The Reform of Comedy: Carlo Goldoni (223); Other Contributions to the   Opera buffa (228); Reactions to the Opera buffa (229) 8.5. Seasonal Dimensions of Genre   Conflicts Ambiguities of Spring Opera (234); Historical Dimensions of Genre Change (235)   9. Season and Genre from the Middle Ages to Today 9.1. Medieval Models 9.2. Italy frorn 1660   to 1760 Florence (238); Naples (240) 9.3. Europe from 1660 to 1760 Paris (241); Dresden (243)   904. Europe after 1760 Opera Calendars under the French (246); Opera Calendars under the   Austrians (248); Lenten Opera in Vienna (254) 9.5. The Calendar of Venetian Opera at Large   9.6. Seasonal Models Today   Part Three. Telling Time 10. Time According to the Eagles 10.1. The Eagles and the Moles 10.2.   Cultural Artifacts and Temporal Order Literary Artifacts (269); Musical Artifacts (271) 10.3.   The Eagles and their \"Chronologies\" Ivanovich (276); Bonlini (278); Groppo (283); Rossi (290);   Galvani (292); Wiel (293); Aim (295) 1004. Time in Genre Surveys Opera Surveys (298);   Theater and Drama Studies (300); Chronologies for other Locales (301); Work Dates in Music   Encyclopedias (30 I) 10.5. Time, Genre, and Chronology   210   220   232   237 237 238   241   245   256 262   267 267 267   276   298   302   SONG AND SEASON   II. The Chronicles of the Moles 11.1. The Post and the News 11.2. Censorship and the News   11.3. Weekly News from Venice Awisi from Venice (313); The Pallade veneta Manuscripts   (315); The Mercuri (315); Reports of the Papal Legate (316); Avvisi sent with Diplomatic   Reports (317) 1104. Weekly News Aggregations Bologna (318); The Corriere ordinario (Vienna)   (318); The Diario ordinario (Rome) (319) 11.5. Monthly News Aggregations Le Mercure galanl   (320); La Ga  eta de Madrid (321); Pallade veneta (321); News Translations (322); Post-  Republican News (324) 11.6. Theatrical News in Government Records Diplomats' Records   (325); Spies' Records (327); Censors' Records (330); Notaries' Records (332); Other Sources for   Chronology (333) 11.7. Indigenous Theatrical Moles Goldoni as Consul (335); Rousseau as   Ambassadorial Secretary (335); Casanova as Government Informer (336) 11.8. From Chronicles   to Dates Dispatch Dates (33); RectifYing Dates from the Moles (338); Error Rates for the Eagles   (344)   12. New Times, New Tellers 12.1. New Times 12.2. New Tellers Pietro Gradenigo (348);   Gasparo Gozzi (349) 12.3. The Polemics of Genre 1204. The Polemics of Cultural Time 12.5.   The Enduring Theatrical Calendar   Sources Cited General Index Index of Musical Works   7   304 306 311 312   317   319   325   334   337   346 346 347   351 354 356   359 375 391   Illustrations   1.1. Mnemonic hand for decoding the calendar (1705) 3.1. Detail from Francesco Guardi's   painting II Torre del Orologio 3.2. The San Marco clock (Orologio) before its latest restoration   3.3. The clock and bells of San Giacomo di Rialto 304. The bell-ringing schedule adopted in   1752 3.5. Goethe's conversion table for German and Italian time (1786) 6.1. Map of Venice   (1804) showing location of theaters 6.2. Garden in which the former San Cassiano was located   8.1. An agreement signed by G C. Grimani and A. Vendramin 10.1. Sample title-pages and   dedications from opera libretti 10.2. Pages from Bonlini's printed Le g\/orie della poesia (1725-  26) 10.3. Unbound aggiunle (1734) to the Bonlini catalogue 1004. Pages from Groppo's   Cala\/ogo (1725-26) 10.5. Title leaf from the 1745 holograph ofGroppo's Cala\/ogo II.I. Opera   commentary in Le Mercure ga\/anl (1679) 11.2. Opera commentary in Pallade venela (1687)   30 58 60 61 64 77 153 154 218 272 280 281 285 286 320 322   Figures   3.1. The \"fish\" silhouette of light and dark hours 5.1. Schematic view of theatrical periods in an   average year 5.2. The \"S!. Stephen's effect\" on opening dates for operas 6.1. Distribution of   opera productions at San Cassiano 6.2. Distribution of opera productions at SS. Giovanni e Paolo   6.3. Distribution of opera productions at San Moise 604. Distribution of opera productions at San   Salvatore 6.5. Distribution of opera productions at Sant' Angelo. 6.6. Distribution of opera   productions at San Giovanni Grisostomo 6.7. Distribution of opera productions at San Samuele   9.1. Drammi per musica given in Florence (1670-1750) 9.2. Operas given in Paris (1673 and   1749) 10.1. Schematic view of title-page and dedication dates 10.2. Number of works survived   by musical materials 11.1. Schematic facsimiles of a libretto title-page and dedication   63 117 127 155 157 158 159 161 163 169 239 242 270 274 339   Tables   1.1. The Venetian school year in the eighteenth century 1.2. Virtual definitions of the year in   order of initiation 2.1. Principal bodics of the Venetian government 2.2. A composite view of   sacred and secular fixed feasts 3.1. Names and functions of the Campanile bells 3.2. Principal   times for bell-ringing (12th-14th centurics) 3.3. Comparison of bell nomenclatures 304. Bells for   workdays and feast days 3.5. Times at which the Realtina rang during autumn and winter 3.6.   Hours for ringing the morning lerza (1752) 3.7. Hours of assembly and dismissal, University of   Padua (1788) 3.8. Hours for sunrise and the ringing of the lerza (1782, 1860) 4.1. Quarterly   closure dates for the civic lottery bank 4.2. Liturgical and civic dating alternatives for feast days   5.1. Divisions of the accounting year into theatrical periods 5.2. The order in which theatrical   periods evolved 5.3. Conflicting times of performance for Adriano in Siria 6.1. Average number   of works per theater per year 7.1. Provincial dates of adoption of individual theatrical periods   7.2. Autumn works given in Rovigo 7.3. Autumn works given in Dolo 7 A. Autumn works given   in Este 7.5. Autumn works given in Treviso 7.6. Spring works given in Vicenza 7.7. Winter   works given in Vicenza 7.8. Spring works given elsewhere in the Veneto 7.9. The sequence of   ceremonial events on 24-26 December   36 36 48 51 66 67 68 70 73 76 80 81 97 114 116 118 140 174 180 182 186 186 188 190 191 193   202   SONG AND SEASON   II   8.1. Genre specialization by theater and season 8.2. Genre preference by theatrical period 9.1.   Significant premieres given during Lent 9.2. Selected works opening during the St. Luke's   period. 9.3. Selected works opening during the St. Martin's period. 904. Selected works opening   during the St. Stephen's period 9.5. Selected works opening during Carnival 9.6. Selected works   opening during the Ascension period 9.7. Selected works opening during the summer 10.1.   Principal bibliographies of Venetian opera. 11.1. Delivery and departure times for the post 11.2.   Comparison of dates for works of the 1670s and 1680s 11.3. Comparison of dates for works of   the 1720s to 1740s 1104. Canvas of dates for works of the 1690s and l700s 11.5. Year- and   sequence-error rates for bibliographies   231 233 255 257 257 259 260 261 262 296 308 341 341 342 344   Abbreviations and Citations   Text abbreviations in primary sources (e.g. in \"ill.mo\") in printed citations are expanded with   italicized letters (e.g., iIIuslrissimo). Document quotations retain their original spelling. Archaic   capital letters have been changed to lower case. Punctuation is unchanged apart from the   occasional addition ofa period (.). Most documents cited are not quoted in the original, since   eventual publication of all documentation is intended. Dates are given literally (as found).   Time and culture: M.V. more veneto: the Venetian calendar date [January and February belong   with preceding year] ore venele: time as computed by the Venetian method. The new day began   at a variable time which was nominally 30 minutes after sunset. Time was recorded in the 24-  hour style.   O.v.   Early news-sheets and archival series: I A Awisi: weekly MSS [see under diverse sigla below]   AG Archivio Gonzaga: a general division of I-MAas AS Archivio Segreto: a general division   ofl-Rvat BG Bologna: printed gazettes in I-Bag CO II corriere ordinario: printed weekly gazettes   in A. Wn CX Capi, Consiglio dei Dieci: series in I-Vas DO Diario ordinario: a series of printed   gazettes in I-Rvat GDC MSS Gradenigo Dolfin [1.Vmc], Commemoriali (Colloc. 200) GDN   MSS Gradenigo Dolfin [I-Vmc], Notatoria (Colloc. 67) GL Gozzi [Gaspare], LeI\/ere: recent   edition GM Goldoni [Carlo], Memoires GV La gazzel\/a veneta: printed, 1760-61 IS Inquisitori   di Stato: a general division within I-Vas   1 In citations of manuscript malerials, these abbreviations are concatenated wilh RISM library   sigla such that the expression \"1-MAas A\"would signal the library (I = Italy, MA = Mantua, as =   Archivio di StaIO) and the source within it (here avvi.,i da Venezia = second A).   SONG AND SEASON   13   M MG NV PS RC RSP PV SPV   Mercuri: weekly MSS (in Italian) in I-Vnm Le Mercure galan\/: monthly prints (in French)   Nunziatura di Venezia: weekly MSS in I-R vat AS Basilica di San Marco, Procuratia de Supra:   MS minutes Riferte de' Confidenti: MS surveillance reports in I.Vas Riformatori dello Studio di   Padova: MS printing permissions \"Pallade Veneta\": weekly MSS in I-Vas, IS; Vmc; Vnm State   Papers Venetian: MS weekly MS reports in GB-Lpro (Kew)   RISM [the Repertoire International des Sources Musicales] employs the following sigla, which   are arranged first by country, then by city, then by library: Austria (A): A-Wn Germany (D): D.B   D.Dlb D-Hs D-Mbs D-RH   Vienna: Osterreichische Nationalbibliothek, Musiksammlung   D-Rtt D-WD D- WRgsa Franee (F): F-Pa Paris: Bibliotheque de I' Arsenal F-Pc Paris: Fonds du   Conservatoire National de Musique [housed in F-PnJ F-Po Paris: Bibliotheque-Musc!e de   l'Opera F-Pn Paris: Bibliotheque Nationale Great Britain (GB): GB-Cfm Cambridge: Fitzwilliam   Museum GB-Ckc Cambridge: King's College, Rowe Music Library GB.Lam London: Royal   Academy of Music GB-Lbl London: British Library GB-Lcm London: Royal College of Music   GB-Lpro London: Public Record Office GB-Lram London: Royal Academy of Music GM-Mp   Manchester: Central Public Library, Henry Watson Music Library GB-Ob Oxford: Bodleian   Library   Berlin: Staatsbibliothek Preussischer Kulterbesitz, Musikabteilung Dresden: Sachsische   Landesbibliothek Hamburg: Staats- und Universitatsbibliothek Munich: Bayerische   Staatsbibliothek Rheda: FUrst zu Bentheim-Tecklenburgische Bibliothek [housed in D-MOu]   Regensburg: FUrst Thurn und Taxis Hofbibliothek Wiesentheid: Musiksammlung des Grafen   von Sch6nborn- Wiesentheid Weimar: Goethe- und Schiller-Archiv   14   Italy (I): I-Bag I-Be I-CF I-Fas I-FI I-Fm I-Fn I-MAas I-Mb I-MAC I-MOas I-MOe I-Rc I-Rli I-  Rsc I-Rvat I-RVa I-Tn I-Vas I-Vc I-Vcg I-Vgc I-Vire I-Vmc I-Vnm   SONG AND SEASON   Bologna: Archiginnasio Bologna: Civico Museo Bibliografico Musicale Cividale del Friuli:   Archivio Capitolare Florence: Archivio di Stato Florence: Biblioteca Laurenziana Florence:   Biblioteca Marucelliana Florence: Biblioteca Nazionale Centrale Mantua: Archivio di Stato   Milan: Biblioleca Nazionale Braidense Macerata: Bibliotec Comunale Modena: Archivio di   Stato Modena: Biblioteca Estense Rome: Biblioteca Casanatense Rome: Accademia Nazionale   dei Lincei e Corsiniana Rome: Conervatorio di Musica Santa Cecilia Rome: Biblioteca   Apostolica Vaticana Rovigo: Accademia e Biblioteca dei Concordi Turin: Biblioteca Nazionale   Universitaria Venice: Archivio di Stato Venice: Conservatorio di Musica Benedetto Marcello   Venice: Ca' Goldoni Venice: Fondazione Giorgio Cini Venice: Istituzionidi Ricoveroedi   Educazione [housed inOspedaletto) Venice: Civico Museo Correr Venice: Biblioteca Nazionale   Marciana Venice: Fondazione Querini-Stampalia   I-Vqs Slovenia (SL): SL-Ls Ljubljana: Seminary Library United States (US): US-AA Ann Arbor   (MI): University of Michigan US-Aut Austin (TX): Harry S. Ransom Humanities Center, Univ.   of Texas US-BEu Berkeley (CA): University of California, Music Library US-CAh Cambridge   (MA): Houghton Library, Harvard University US-CAi Cambridge (MA): Isham Memorial   Library, Harvard University US-LAu Los Angeles (CA): University of Cali fomi a US-NYpm   New York (NY): J. Pierpont Morgan Library US-SFu San Francisco (SF): California State   University, de Bellis Collection US-Wlc Washington (DC): Library of Congress","brand":"Stanford University Press","offers":[{"title":"Default Title","offer_id":49405571629399,"sku":"9780804757652","price":56.1,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780804757652.jpg?v=1730492876","url":"https:\/\/bookcurl.com\/products\/song-and-season-9780804757652","provider":"Book Curl","version":"1.0","type":"link"}