Born around 1,000 years ago, most probably in Tuscany, Guido d’Arezzo is remembered as the father of modern musical notation. His musical contributions surpassed all former methods of writing music, which did not represent the exact notes to be sung or played. He developed a linear system of musical notation capable of indicating pitch with absolute precision. His innovations accompanied a cultural crisis fundamental to the growth of Western music. While still a boy, Guido entered the Benedictine monastery at Pomposa, on the Adriatic coast. He probably died in the hermitage of Fonte Avellana in about 1050. This book envisions his life in relation to ancient musical history, to plainchant, and to the glories and conflicts of medieval monasticism. In writing of Guido, the author reveals her love for Italy and her fascination with Gregorian chant and Catholic traditions. She says, “Few documents remain concerning Guido’s life. I had to create a framework around his existence, considering ancient musical traditions, plainchant, medieval monasticism, the Italian countryside, and the revolutionary importance of clear notation.”
How is a life defined by a city, and a city by the lives within? Where do an individual and a culture coincide? Perhaps more than any city in the world, Venice inspires these questions and suggests intriguing answers. This book focuses on people who have been shaped by Venice and have shaped Venice in their turn. The author considers them in five groups: the "mutilated culture heroes" (e.g., the eunuch Narses), who despite or because of some great sacrifice helped the city define itself and its mission; the "fugitives from splendor" (e.g., St. Pietro Orseolo or El Greco), so overwhelmed by beauty that they fled the city; the "prisoners of Venice"-the convicts, the cloistered, the mad; the "symbiotics," who lived in close communion with the city for long periods of time (e.g., Titian) and the "fugitives from self" (e.g., Igor Stravinsky), who have come from elsewhere seeking a new identity, and who ended up helping to create a new identity for the city itself. More than a collection of biographies, this richly textured and insightful work examines the roots of people's "Venice-ness" as well as the city's own humanity.
This richly textured work examines Venetians’ “Venice-ness” and the city’s humanity. A cultural history wide in scope and original in conception, it explores how people have been shaped by Venice and, in turn, have shaped the city. Meet culture heroes whose defects have helped Venice define its myth and fugitives from the city’s splendor, such as El Greco. Venice’s prisoners numbered cloistered women, the mad, and Jews of the Ghetto. People living in close, durable symbiosis with Venice included Titian, and those fugitives from self who sought wholeness in Venice included Stravinsky.
Born around 1,000 years ago, most probably in Tuscany, Guido d’Arezzo is remembered as the father of modern musical notation. His musical contributions surpassed all former methods of writing music, which did not represent the exact notes to be sung or played. He developed a linear system of musical notation capable of indicating pitch with absolute precision. His innovations accompanied a cultural crisis fundamental to the growth of Western music. While still a boy, Guido entered the Benedictine monastery at Pomposa, on the Adriatic coast. He probably died in the hermitage of Fonte Avellana in about 1050. This book envisions his life in relation to ancient musical history, to plainchant, and to the glories and conflicts of medieval monasticism. In writing of Guido, the author reveals her love for Italy and her fascination with Gregorian chant and Catholic traditions. She says, “Few documents remain concerning Guido’s life. I had to create a framework around his existence, considering ancient musical traditions, plainchant, medieval monasticism, the Italian countryside, and the revolutionary importance of clear notation.”
This richly textured work examines Venetians’ “Venice-ness” and the city’s humanity. A cultural history wide in scope and original in conception, it explores how people have been shaped by Venice and, in turn, have shaped the city. Meet culture heroes whose defects have helped Venice define its myth and fugitives from the city’s splendor, such as El Greco. Venice’s prisoners numbered cloistered women, the mad, and Jews of the Ghetto. People living in close, durable symbiosis with Venice included Titian, and those fugitives from self who sought wholeness in Venice included Stravinsky.
How is a life defined by a city, and a city by the lives within? Where do an individual and a culture coincide? Perhaps more than any city in the world, Venice inspires these questions and suggests intriguing answers. This book focuses on people who have been shaped by Venice and have shaped Venice in their turn. The author considers them in five groups: the "mutilated culture heroes" (e.g., the eunuch Narses), who despite or because of some great sacrifice helped the city define itself and its mission; the "fugitives from splendor" (e.g., St. Pietro Orseolo or El Greco), so overwhelmed by beauty that they fled the city; the "prisoners of Venice"-the convicts, the cloistered, the mad; the "symbiotics," who lived in close communion with the city for long periods of time (e.g., Titian) and the "fugitives from self" (e.g., Igor Stravinsky), who have come from elsewhere seeking a new identity, and who ended up helping to create a new identity for the city itself. More than a collection of biographies, this richly textured and insightful work examines the roots of people's "Venice-ness" as well as the city's own humanity.
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