"The story of Vizzana and her convent is unusually vivid, startlingly well-documented, and concrete. And it is told with wit, passion, and directness."--Suzanne G. Cusick, author of "Valerio Dorico" "This book undertakes, with great success, the task of presenting both Lucrezia Vizzana as a notable composer, and her convent as an important moment in the history of women, religion, and the arts in early modern Italy. It adds an important piece to the gradually developing picture of women's artistic lives in pre-modern ...
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"The story of Vizzana and her convent is unusually vivid, startlingly well-documented, and concrete. And it is told with wit, passion, and directness."--Suzanne G. Cusick, author of "Valerio Dorico" "This book undertakes, with great success, the task of presenting both Lucrezia Vizzana as a notable composer, and her convent as an important moment in the history of women, religion, and the arts in early modern Italy. It adds an important piece to the gradually developing picture of women's artistic lives in pre-modern Europe. Monson offers the best evidence to date that (contrary to common assumptions held even by scholars in the field of early modern studies) women were active in music making, and (contrary to the way early modern monastic life for women has been most often understood) life behind the convent wall was not devoid of aesthetic pleasures."--E. Ann Matter, author of "The Voice of My Beloved" "[A story of] how, in concert and with guile, convent women learned to outmaneuver the authorities. Alongside his sympathetic portrayal of the 'disembodied voices' that emanated from behind the cloister screen and his careful analysis of the music composed by Vizzana, Monson revives the cacophony of strong-willed women fighting for power within the house and their noisy struggles with ecclesiastical authorities to regain lost privileges. The research is impressive; the account captivating."--Elissa B. Weaver, University of Chicago
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Very good in very good jacket. Cloth backed boards in dust jacket, octavo, sparsely illustrated in b&w. Book has hint of shelfwear to edges of boards and spine, binding tight, text has some erasable pencil lines in margins scattered throughout. DJ gently rubbed, edgeworn and soiled.
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VG/VG (Ex-library with stamps and labels on spine, inside front and rear covers, ffep and block. ) Green paper over boards; purple cloth spine with silver lettering; green and purple dj, mylar cover; xxiv, 354 pp; 18 unnumbered pages of plates; bw illustrated. Piecing together 200 years of convent history, this narrative tells the story of the nuns of Santa Cristina della Fondazza--gifted singers, instrumentalists, and composers who used music to circumvent ecclesiastical authority and to forge links with the world beyond convent walls. Craig Monson reconstructs the daily lives of Italian nuns, often in their own words, and relates their musical life to the broad social context in which it unfolded. He introduces a virtually unknown nun composer, relating her family history and how the convent allowed her creativity to flower. In sixteenth-and early-seventeenth-century Bologna, approximately one-seventh of the entire female population lived behind convent walls. Santa Cristina became home for a number of gifted women musicians, many from among the upper classes, who sought "respectable" musical careers. Monson documents the struggle of these women as they fought to maintain their musical and ritual traditions in the face of persistent opposition from church officials. Figuring prominently in the story of Santa Cristina is Lucrezia Vizzana, Bologna's only published nun composer, who entered the convent at the age of eight. This study is as much about social and cultural history as it is about music. The discussion ranges widely beyond musicology to draw upon art, social and political history, labor history, theology, and gender studies. --From publisher's description. Contents: List of Musical Examples--Dramatis Personae--1. Donna Lucrezia Orsina Vizzana of Santa Cristina della Fondazza--2. Lucrezia Vizzana's Musical Apprenticeship--3. Worldly Influences on Lucrezia Vizzana's Componimenti musicali--4. The Meeting of Music, Art, and Ritual in Componimenti musicali--5. Vizzana's Themes of Personal Piety--6. The Rhetoric of Conflict in Componimenti musicali--7. The Social Dynamics of Division at Santa Cristina--8. The Struggle with Cardinal Archbishop Ludovisi--9. The Confrontation with Cardinal Archbishop Albergati Ludovisi--10. The Pontifical Consecration of Virgins--11. The Campaign for the Consecration of 1699--12. A Last Musical Battle with the Bishop--13. Codetta.
