References

^*Rebecca Cypess (rebecca.cypess@gmail.com) is Associate Professor of Music at the Mason Gross School of the Arts, Rutgers University. A musicologist and harpsichordist, she is the author of Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy (University of Chicago Press, 2016), for which she received a fellowship from the American Association of University Women, as well as numerous articles on the history and performance practices of music in the seventeenth and eighteenth centuries. Her current book project is titled “Resounding Enlightenment: Music as an Instrument of Tolerance in the World of Sara Levy.” With the Raritan Players, she recently released the compact disc In Sara Levy’s Salon (Acis Productions, 2017).

^[1] Richard Taruskin, Text and Act: Essays on Music and Performance (Oxford: Oxford University Press, 1994), 194.

^[2] Hellmut Federhofer and Steven Saunders, Grove Music Online, s.v. “Valentini, Giovanni.”

^[3] Readers may be interested in the critical edition of this volume available through the Archive of Seventeenth-Century Italian Madrigals and Arias (ASCIMA): Giovanni Valentini, Secondo libro de madrigali a 5, 6, 8, 9, 10, & 11, concertati con voci, et istromenti (Venice, 1616), ed. Pyrros Bamichas, with Italian translations by Cinzia Scafetta, German translations by Joachim Steinheuer and Ursula Herrmann, and English translations by John Whenham (University of Birmingham and University of Heidelberg, 2012), http://epapers.bham.ac.uk/1691/1/Valentini_Secondo_libro_de_madrigali_1616.pdf.

^[4] Kerala J. Snyder, Grove Music Online, s.v. “Rosenmüller, Johann.”

^[5] Further on the use of the sonata in church and on the incorporation of dance tropes in sacred music, see Gregory Barnett, Bolognese Instrumental Music, 1660–1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph (Aldershot, UK: Ashgate, 2008), chapter 4, “Da chiesa and da camera.”

^[6] See the discussion and citations in Rebecca Cypess, Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy (Chicago: University of Chicago Press, 2016), 117–58.

^[7] See, inter alia, Charles E. Brewer’s recent study of the stylus phantasticus in the work of these composers and their contemporaries: Charles E. Brewer, The Instrumental Music of Schmeltzer, Biber, Muffat and Their Contemporaries (Aldershot, UK: Ashgate, 2011).