Secular and Sacred in the Second Half of the Sixteenth Century
The Case of Masses Nasce la pena mia of Bartolomeo Spontone and Costanzo Antegnati
Bibliographic Data
| ID | 14780971 |
|---|---|
| Authors | Klemen Grabnar (0000-0001-8579-9306, Slovenian Academy of Sciences and Arts, corresponding author) |
| Year | 2015 |
| Volume | 50 |
| Issue | 2 |
| Pages | 181-198 |
| Publication date | 2015-04-03 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Musicological Annual (JOURNAL) |
| Journal identifiers | ISSN: 0580-373X • E-ISSN: 2350-4242 |
| Publisher | University of Ljubljana (PUBLISHER • SI) |
| DOI | 10.4312/mz.50.2.181-198 |
| OpenAlex | W775860086 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
Parody masses based on secular compositions are intriguing due to their employment of profane music in strictly liturgical music, which has inspired research in traversing boundaries between sacred and profane. As can be seen from the case of two masses, one by Bartolomeo Spontone and the other by Costanzo Antegnati, based on the madrigal Nasce la pena mia by Alessandro Striggio, secular music in the sixteenth century seems to be transformed in a way to elevate it, turning the attention of the listener toward God
Aesthetics · Art · Literature · Diverse Musicological Studies · Musicology and Musical Analysis · Philosophy · Renaissance and Early Modern Studies
| Citations per year | 0.09 |
|---|---|
| Citation span | 2015 - 2015 (1) |
| Highly cited | No |