Venetian music print culture of the mid-sixteenth century is presented here through a study of the Scotto press, one of the foremost dynastic music publishers of the Renaissance. For over a century, the house of Scotto played a pivotal role in the international book trade, publishing in a variety of fields including philosophy, medicine, religion, and music. This book examines the mercantile activities of the firm through both an historical study, which illuminates the wide world of the Venetian music printing industry, and a catalog, which details the music editions brought out by the firm during its most productive period. This book enhances understanding of the socioeconomic and cultural history of Renaissance Venice and helps to preserve our knowledge of a vast musical repertory.
‘Nothing is but what is not’. These words uttered by Macbeth
after his bizarre first encounter with the three weird sisters could serve as a motto for the
whole of Shakespeare's tragedy; for ‘the Scottish play’, as the superstitious
have called it for centuries, is ruled by uncertainty, the questionable, the netherworld, where
the only thing that is absolute is evil. It is about ambiguous forces that violate
ife's natural order – witches, ghosts, a moving forest, an invisible dagger –
what we call the macabre, what Freud called the uncanny, and what Verdi called ‘un genere
fantastico’. Shakespeare constructs a world of binary opposites where boundaries, as
Marjorie Garber has observed, are ‘continually transgressed, and marked by a series of
taboo border crossings’.
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