stormin' for sprezzatura

But might sprezzatura and grazia have left traces in other aspects of 16th century music and musical discourse? Berger's understanding of sprezzatura as a process involving concealment and revelation means that other aspects of 'elite enclosure' open to reading two ways simultaneously might be seen as analogous to sprezzatura: Bette Talvacchia's work on I Modi certainly provides ample food for the art history side of things (succulent and saucy fruit and veg).

Check whether Talvacchia/Vasari discusses grazia.

Give example of Cambio piece: in this piece, the word setting reveals and then conceals hidden indecencies (ref Della Casa & rinculare).

- text is mildly erotic; susceptible to equivocal reading
- apart from that, the text has hidden obscenities which Cambio's word-setting reveals.

Not much grazia in this, though, one assumes.

Audience for Cambio - Venier's cohort? Check dedication/book etc etc.

Perhaps sprezzatura is not the main aspect of this paper; rather, the main aspect of the paper is to document the playfulness of the stylistic levels?

Get back on track again.

Not sure sprezzatura is at all useful for discussing Barges - seems to me that the Bembo stuff is more useful for that. But then, the issue is 1) using Bembo - trying to work from 16th century perspective to do something presumably distinctly un-16th century-ish and 2) using sprezzatura - working from a (modern) understanding of a 16th cen concept to again do sthg distinctly un-16th-c-ish.

Maybe what I need is a more solid theoretical and methodological foundation--perhaps that is why I am struggling with this. Is there such a foundation that I can pinch from elsewhere?!

Nothing in McClary that I can think of.

THe thing about the Cambio piece that I really want to stress, I guess, is that the indecencies really come out in performance. That his setting does depend upon time to understand what is going on--does that even make sense?

OK, so in remaining 2 mins let's plan

Sprezzatura, grazia & music

-what is it?
-why important?
-examples? - discuss Caccini???
-New takes on Sprezz - Berger vs saccone (not so new)
-elements of Berger's sprezz that are useful
-cambio example
-grazia in 16th century understanding?
-Zarlino
-Vicentino etc
-look at other examples - this is all new research.
-conclude what exactly?

article 1 - 16th C musical eroticism as part of aristocratic culture
-Venier's lot & what they got up to (Feldman et al)
-Cambio & Barges's relationship to Venier et al
-Barges's examples
-Cambio example
-how to understand?
-Bembo - playfulness with stylistic levels
-one thing read two ways - sprezzatura (Berger)

Is this then going to be too short? Is it arguing anything? Nothing really much going on there.
article 2)

music & eroticism as part of academic culture
-introduction
-academies and erotic outputs (salon-Venier; Piacenza-Doni)
-strophic song a part of this wider erotic context
-