Verona: Convegno | Conference
Chiara Bertoglio presenterà una memoria nel convegno internazionale "The Soundscape of the Venetian Terraferma in the Early Modern Era", che si terrà presso l'Accademia Filarmonica di Verona dall'1 al 3 giugno 2018. La relazione di Chiara Bertoglio discuterà il contributo della Scuola Accolitale di Verona, e in particolare di Biagio Rossetto, alla creazione di un "paesaggio sonoro" nell'ambito sacro veronese.
Chiara Bertoglio will read a paper at the international Conference "The Soundscape of the Venetian Terraferma in the Early Modern Era", which will take place at the Accademia Filarmonica in Verona from June 1st to 3rd, 2018. Chiara Bertoglio's paper will focus on how the Acolyte School of Verona, and particularly its master Biagio Rossetto, contributed to the creation of a sacred "soundscape" in Verona, between fifteenth and sixteenth century.
See also: http://www.accademiafilarmonica.org/filarmonica/convegno-internazionale-2018/
The Libellus de rudimentis musices written by Biagio Padovano, also known as Rossetto (1473-1558) is mainly known among those specialized in early music theory and in the field of organ music. Yet this handbook authored by a clergyman for use by the students of the Veronese Scuola Accolitale also represents a unique insight into the musical landscape of sixteenth-century Church music in Verona.
Going beyond its immediate destination, the Libellus was also an exposition of ideas about the true role and correct forms of sacred music, which Rossetto aimed at presenting as part of the reform undertaken in Verona by the bishop Gian Matteo Giberti. While the sections discussing details of text-underlay in Rossetto’s work have been discussed with comparative frequency by scholars in the field (particularly Harrán), the parts dealing more specifically with clerical ethos and with the impact and function of music in liturgy have hitherto received a less thorough treatment.
The proposed paper will frame Rossetto’s Libellus within the context of sixteenth-century Verona and of its musical landscape, in particular as it resonated in the walls of the Cathedral Church and of the Acolytes’ School; it will also discuss how Rossetto’s (and Giberti’s) view of sacred music impacted on later theorists, churchmen and reformers, both in Verona and in larger geographical and social areas. It will demonstrate that the perspective proposed by Rossetto and Giberti was, at the same time, pioneering and inserted within a broader movement of reform; moreover, it was part of a culture marked by the humanist thought, whereby church music was seen as an integral and fundamental component of the moralization and spiritualization of the clergy.