Difference between revisions of "Venetian Opera Documentation"
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Documentation for https://venop.ccarh.org | Documentation for https://venop.ccarh.org | ||
| − | Venetian opera is celebrated for many reasons. This collection of tabular information was inspired by the most mundane of them--the sheer bulk of operas that were performed in Venice between 1660 and 1760. | + | Venetian opera is celebrated for many reasons. This collection of tabular information was inspired by the most mundane of them--the sheer bulk of operas that were performed in Venice between 1660 and 1760. Venetian culture of times past followed many prescribed rules, but which one was operative at any specific time was often an open question. The regularity that databases require for smooth operation, and this requirement inherently conflicts with the sense of immediacy that prevailed in Venice, irrespective of the source of authority. |
| − | + | Most of this documentation pertains to matters that may warrant caution. | |
| + | ==How to use this resource== | ||
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| + | Why collect so much trivia? | ||
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| + | ==Background== | ||
My interest was stimulated by the discovery of a small book from which a few leaves of printed vocal music peeped out at an antique fair in Venice in 1977. Although the item followed me home to California, it took several years to unravel what its motives were and why music played an important role in its commentary.|See E. Selfridge-Field, Pallade Veneta: Music in Venetian Society, Venice: Fondazione Ugo e Olga Levi, 1985|. Pallade Veneta | My interest was stimulated by the discovery of a small book from which a few leaves of printed vocal music peeped out at an antique fair in Venice in 1977. Although the item followed me home to California, it took several years to unravel what its motives were and why music played an important role in its commentary.|See E. Selfridge-Field, Pallade Veneta: Music in Venetian Society, Venice: Fondazione Ugo e Olga Levi, 1985|. Pallade Veneta | ||
| − | I never aimed to compile such a sprawling mass of data when I started assembling a few details for the 1680s and 1690s. My hope | + | I never aimed to compile such a sprawling mass of data when I started assembling a few details for the 1680s and 1690s. My hope in 1982 was to establishing the <i>sequential</i> order of performances. I supposed that the position of a few perennially undatable works would match up with random holes in this provisional sequence. By a circuitous path I was able to explore many topics pertinent to Venetian opera, which was a cornucopia of microhistories of theaters, personnel, creators, musical sources and how they arrived at their current locations, and--at a general level--how much Europe changed between 1660 and 1760. |
Revision as of 20:30, 23 June 2024
Documentation for https://venop.ccarh.org
Venetian opera is celebrated for many reasons. This collection of tabular information was inspired by the most mundane of them--the sheer bulk of operas that were performed in Venice between 1660 and 1760. Venetian culture of times past followed many prescribed rules, but which one was operative at any specific time was often an open question. The regularity that databases require for smooth operation, and this requirement inherently conflicts with the sense of immediacy that prevailed in Venice, irrespective of the source of authority.
Most of this documentation pertains to matters that may warrant caution.
How to use this resource
Why collect so much trivia?
Background
My interest was stimulated by the discovery of a small book from which a few leaves of printed vocal music peeped out at an antique fair in Venice in 1977. Although the item followed me home to California, it took several years to unravel what its motives were and why music played an important role in its commentary.|See E. Selfridge-Field, Pallade Veneta: Music in Venetian Society, Venice: Fondazione Ugo e Olga Levi, 1985|. Pallade Veneta
I never aimed to compile such a sprawling mass of data when I started assembling a few details for the 1680s and 1690s. My hope in 1982 was to establishing the sequential order of performances. I supposed that the position of a few perennially undatable works would match up with random holes in this provisional sequence. By a circuitous path I was able to explore many topics pertinent to Venetian opera, which was a cornucopia of microhistories of theaters, personnel, creators, musical sources and how they arrived at their current locations, and--at a general level--how much Europe changed between 1660 and 1760.