Table of Contents

List of Illustrations
List of Plans
List of Abbreviations
1: Magnificence as Civic Image: Music and Ceremonial Space in Early Modern Venice
2: Strangers in Paradise: Dutchmen in Venice in 1525
3: Music and Reform: The Savonarolan Legacy
4: Music and Civic Piety in Counter-Reformation Milan
Appendix: The Tini Broadside Catalogue of c. 1596
5: Scipione Gonzaga: A 'Poor' Cardinal in Rome
6: Gioseffo Zarlino and the Accademia Venetiana della Fama
7: Lepanto: Music, Ceremony, and Celebration in Counter-Reformation Rome
8: Rites of Passage: Cosimo I de' Medici and the Theatre of Death
9: Giaches de Wert and the Palatine Basilica of Santa Barbara: Music, Liturgy, and Design
10: Preparations for a Princess: Florence, 1588-1589
Bibliography
Index

About the Author

Iain Fenlon is Reader in Historical Musicology at the University of Cambridge and the editor of Early Music History. His publications include: Music and Patronage in Sixteenth-Century Mantua; The Early Sixteenth Century Madrigal (with James Haar); The Song of the Soul: Understanding 'Poppea' (with Peter Miller); Music, Print and Culture in Renaissance Italy; and Music, Ceremony and Identity in Counter-Reformation
Venice (forthcoming, Yale University Press).

Reviews

... the richness and diversity of his field of vision become that much more obvious and valuable when some of his previously dispersed papers are encountered together in a single volume, as they are here. Early Music In the age of the Counter-Reformation, the streets, squares, palaces, courts, churches, nunneries, and Italian academies resounded with all kinds of music. Using an evocative mental technique similar to Ignatius of Loyolas visual composition of place, Iain Fenlon vividly reconstructs before our eyes the spaces and times of music, understood as a sounding sign of power, an allegory of celestial harmony, an image of antique myths, a celebration of the Deity, a stimulus to private devotion, and a symbol of collective identity. Lorenzo Bianconi, University of Bologna