Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Standard

Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers. / Jeanneret, Christine.

The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. ed. / Tom Cochrane; Bernardino Fantini; Klaus Scherer. Oxford : Oxford University Press, 2013. p. 85-101, 359-69.

Research output: Chapter in Book/Report/Conference proceeding › Book chapter › Research › peer-review

Harvard

Jeanneret, C 2013, Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers. in T Cochrane, B Fantini & K Scherer (eds), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press, Oxford, pp. 85-101, 359-69. https://doi.org/10.1093/acprof:oso/9780199654888.001.0001

APA

Jeanneret, C. (2013). Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers. In T. Cochrane, B. Fantini, & K. Scherer (Eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control (pp. 85-101, 359-69). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199654888.001.0001

Vancouver

Jeanneret C. Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers. In Cochrane T, Fantini B, Scherer K, editors, The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford: Oxford University Press. 2013. p. 85-101, 359-69 https://doi.org/10.1093/acprof:oso/9780199654888.001.0001

Author

Jeanneret, Christine. / Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers. The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. editor / Tom Cochrane ; Bernardino Fantini ; Klaus Scherer. Oxford : Oxford University Press, 2013. pp. 85-101, 359-69

Bibtex

@inbook{5ea88f2a30574720a45a298cfb13293b,
title = "Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers",
abstract = "Solo singing is associated with the expression of passions during the 17th century. Cantatas were sung by women as well as castrati, playing an ambivalent game on gender, eroticism, and passions. Contemporary testimonies of these performances juxtaposed with the medical theory of the humors shows that both are based on the idea of a perfect male body, a and womanish body of the castrato, and an even worse female body. Poems reflect the conventional tropes of the male gaze: the lover oscillates between hot and cold; he is consumed by the fire of passion and frozen by the unwavering cruelty of his beloved. While we rightly read such changes of temperature as standardized extravagances of poetics, they are also deeply rooted in Early Modern scientific theories of the body. Performance was one part of sophisticated entertainments along with improvisation of poetry, discourses on love, and games of eloquence.",
author = "Christine Jeanneret",
year = "2013",
doi = "10.1093/acprof:oso/9780199654888.001.0001",
language = "English",
isbn = "978–0–19–965488–8",
pages = "85--101, 359--69",
editor = "Tom Cochrane and Bernardino Fantini and Klaus Scherer",
booktitle = "The Emotional Power of Music",
publisher = "Oxford University Press",
address = "United Kingdom",

}

RIS

TY - CHAP

T1 - Gender Ambivalence and The Expression of Passions in the Performances of Early Roman Cantatas by Castrati and Female Singers

AU - Jeanneret, Christine

PY - 2013

Y1 - 2013

N2 - Solo singing is associated with the expression of passions during the 17th century. Cantatas were sung by women as well as castrati, playing an ambivalent game on gender, eroticism, and passions. Contemporary testimonies of these performances juxtaposed with the medical theory of the humors shows that both are based on the idea of a perfect male body, a and womanish body of the castrato, and an even worse female body. Poems reflect the conventional tropes of the male gaze: the lover oscillates between hot and cold; he is consumed by the fire of passion and frozen by the unwavering cruelty of his beloved. While we rightly read such changes of temperature as standardized extravagances of poetics, they are also deeply rooted in Early Modern scientific theories of the body. Performance was one part of sophisticated entertainments along with improvisation of poetry, discourses on love, and games of eloquence.

AB - Solo singing is associated with the expression of passions during the 17th century. Cantatas were sung by women as well as castrati, playing an ambivalent game on gender, eroticism, and passions. Contemporary testimonies of these performances juxtaposed with the medical theory of the humors shows that both are based on the idea of a perfect male body, a and womanish body of the castrato, and an even worse female body. Poems reflect the conventional tropes of the male gaze: the lover oscillates between hot and cold; he is consumed by the fire of passion and frozen by the unwavering cruelty of his beloved. While we rightly read such changes of temperature as standardized extravagances of poetics, they are also deeply rooted in Early Modern scientific theories of the body. Performance was one part of sophisticated entertainments along with improvisation of poetry, discourses on love, and games of eloquence.

U2 - 10.1093/acprof:oso/9780199654888.001.0001

DO - 10.1093/acprof:oso/9780199654888.001.0001

M3 - Book chapter

SN - 978–0–19–965488–8

SP - 85-101, 359-69

BT - The Emotional Power of Music

A2 - Cochrane, Tom

A2 - Fantini, Bernardino

A2 - Scherer, Klaus

PB - Oxford University Press

CY - Oxford

ER -

ID: 123609192