21 20 5666 https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/cb419a5275865e20fbbe643c2a28d2c1.mp3 c40ba7150f5c025151279f9625670df0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:53:27 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Understanding understanding Description An account of the resource Audio recording of a lecture given by tutor Peter Pesic on January 27, 2023 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "What does it take to understand something, especially something you feel you can’t understand? Is it possible to really understand something (or someone) yet still not agree with them? This lecture tries to make a tiny step toward these questions." Creator An entity primarily responsible for making the resource Pesic, Peter Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-01-27 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Understanding Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_PesicP_Understanding_Understanding_2022-01-27 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/21237d1bcd253bc78975d15756cec260.mp3 7eb20692c0a85bfb1a70b4f97ae47899 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:18:28 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource On the Question of Whether Plato’s Phaedo Displays Philosophy in Two Registers: Benardetean Reflections Description An account of the resource Audio recording of a lecture given by Patrick Goodin on December 9, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Quite early in the Phaedo Socrates famously describes philosophy, correctly understood, as the practice of dying and being dead, after which he goes on to discuss its meaning in detail. Out of this discussion emerge the two well-known arguments for the immortality of the soul: reincarnation and recollection. The two primary interlocutors, Cebes and Simmias, however, raise two powerful objections that compel Socrates to revise his understanding of philosophy. The question I wish to explore in this talk is whether the revised understanding is consistent with the first or constitutes philosophy in a different register and what is the relationship between the two?" Creator An entity primarily responsible for making the resource Goodin, Patrick Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-12-09 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Plato. Phaedo Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_GoodinP_On_the_Question_of_Whether_Platos_Phaedo_Displays_Philosophy_in_Two_Registers_2022-12-09 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8696587ff8184ae8400bc6ef63b9a9d8.mp3 48d08e0f09f232556ea306a2b89c845d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp4 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:36:29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tribal Nations & Trade: A History and Outlook for New Mexico Description An account of the resource Audio recording of a lecture given by Patrick Schaefer on December 7, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "While trade flows inherently serve to unite distant communities, they also generate great divisions. In New Mexico, Tribal Nations now stand at the center of Transpacific and North American commerce, at the leading edge of current global trade dynamics. Yet, for Tribal Nations, fractures and divisions are present, and mitigating the challenges or seizing the opportunities arising from these trade flows can often remain elusive. As trade volumes continue to increase across all of New Mexico, finding evolving and responsive ways to coordinate across the state’s multiple tribal, state, and federal sovereigns grows in importance. This lecture, by mapping the history and current state of trade flows in New Mexico, specifically through Tribal Nations, and by examining the comparative legal theories that have governed sovereignty and trade in the region, discusses the conditions and structures needed to increase collaboration and resilience throughout the state’s communities." Creator An entity primarily responsible for making the resource Schaefer, Patrick Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-12-07 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Tribal Nations -- New Mexico Commerce Global trade Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_SchaeferP_Tribal_Nations_and_Trade_2022-12-07 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/d886cae8c74f5f07e14d544240d64998.mp3 76c76a4dedbd11273146587974834948 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:52:34 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Petrarch’s Climb and the Crisis of the New Description An account of the resource Audio recording of a lecture given by tutor David McDonald on November 18, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "In a letter often called “The Ascent of Mt. Ventoux,” the poet Petrarch tells of climbing a mountain in the year 1336, in what is now southern France. This is the first documented instance in the West of taking a hike just to see the sight. Having taken in the view from the mountaintop, Petrarch imitates Augustine’s conversion by opening a book at random. But his conversion is unlike Augustine’s. It takes a peculiar turn, toward inwardness and away from religion. We’ll discuss Petrarch’s climb in quest of the new and its relation to modernity, curiosity, sightseeing, the divided self, romantic love, and divination by books and other means." Creator An entity primarily responsible for making the resource McDonald, David Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-11-18 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Petrarch. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_McDonaldD_Petrarchs_Climb_and_the_Crisis_of_the_New_2022-11-18 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/4cf2d001991ea4fced6e2ff9f66e25c0.mp3 c39b5cf879c26518d77b0f616d64de74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audiocassette Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:50:31 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Virtuality Is Its Own Reward Description An account of the resource Audio recording of a lecture delivered on September 12, 1997, by Sven Birkerts as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Birkerts, Sven Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 1997-09-12 Rights Information about rights held in and over the resource Permission has been given to make this available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Digital media--Social aspects Literature and technology Books and reading--Technological innovations Internet--Social aspects Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Birkerts_Sven_1997-09-12_ac Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9e8c2a7475ccf64ec3d811b06b215567.mp3 4cbae20b13c2cd4b18d0fb84fb8bf4d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:53:36 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War and Beefs: Gang Violence in The Illiad Description An account of the resource Audio recording of a lecture given by Jill Leovy on November 18, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "The Iliad supplies a detailed and recognizable description of what the Italian mafia scholar Maurizio Catino has dubbed “horizontal” governance -- that is, lateral rule by peers rather than top-down rule by a centralized authority. The same style of order is found the world over -- in feud societies, bandit cultures, and the various small-scale and “stateless” societies studied by anthropologists. It’s also the surprisingly uniform ordering principle of street gangs, criminal groups and paramilitaries in contemporary urban societies. What can we learn about horizontal orders by reading Homer? To what extent can his descriptions shed light on this seminal form of social organization, also known as the protection racket? By the same token, how can an understanding of urban street violence illuminate The Iliad?" Creator An entity primarily responsible for making the resource Leovy, Jill Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-11-18 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource The Iliad Social interaction Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_LeovyJ_War_and_Beefs_2022-11-18 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/2a1f3f1923aa650290344db167384795.mp3 b01d49b7078aee6e0fa84b1e86415a86 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:58:11 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Epic Narrative of the Book of the Torah: The Story of Creation and the Story of Abraham: Their Literary Character and Teaching Description An account of the resource Audio recording of a lecture given by Hillel Fradkin on November 11, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "This lecture will explore the literary character of the Torah and follow that with literary and substantive interpretations of its first two stories – The Story of Creation and The Story of Abraham." Creator An entity primarily responsible for making the resource Fradkin, Hillel Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-11-11 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Torah Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_FradkinH_Epic_Narrative_of_the_Book_of_the_Torah_2022-11-11 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/240eeebce2851204177180776f88574a.mp3 abc330406cf066189ff6aff65542d50a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:00:52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Xenophon’s Cyropaedia: The Limits of Political Excellence Description An account of the resource Audio recording of a lecture given by tutor Janet Dougherty on November 4, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Cyrus, Xenophon tells us in the first chapter of the Cyropaedia (The Education of Cyrus), knew how to rule humans, animals who are notoriously difficult to govern. In his manner of ruling Cyrus seems to combine the just with the fitting – he alone is fit to rule, and his subjects willingly obey. His rule extends over all the inhabitable world and leaves no room for dissent. Unlike his subjects, Cyrus reveres neither god nor country. He loves no one. For him the political horizon is complete. But Cyrus’s conquest of Croesus, his final great victory, points to the limitations of Cyrus’s government. When Croesus claims to have learned self-knowledge in his conquest by Cyrus and to look forward to being “blessedly happy” under Cyrus’s rule, he dissembles, displaying his prudence. He is so careful that Cyrus is “amazed at his good spirits” after his defeat. But, Xenophon observes, Cyrus took the defeated Croesus wherever he went “…either because he believed that he was somehow useful or because he held it to be safer in this way”. Cyrus’s distrust of Croesus indicates that within the horizon of politics there is no room for individual virtue. While Cyrus exhorts others to be “noble and good,” it is obedience that he rewards. Xenophon’s study of politics points beyond Cyrus and beyond politics, to a study of the human soul that politics cannot comprehend. Creator An entity primarily responsible for making the resource Dougherty, Janet A. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-11-04 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Xenophon. Cyropaedia Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_DoughertyJ_Xenophons_Cyropaedia_2022-11-04 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/0cd44368a36a0a54444005da3647e0a7.mp3 8584eb2b4c5290785d5220db26a9ae87 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:52:14 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Faustian Phenomena: Goethe on Plants, Animals, and Modern Biologists Description An account of the resource Audio recording of a lecture given by tutor John Cornell on October 28, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Goethe’s character Faust – based on the medieval legend about a man who makes a pact with the Devil -- is an archetype of the Western soul. Dissatisfied with life, Faust pursues the most intense adventures while remaining blind to the destruction he leaves in his path. But Goethe understood Faustian striving not just as a human affair but as characteristic of all living things. The theme runs through his extensive scientific writings, in particular, his accounts of the metamorphosis of plants and of the evolution of animals, including man. This talk will consider some of the poet-naturalist’s essays and the light they throw upon modern methods in biology." Creator An entity primarily responsible for making the resource Cornell, John F. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-28 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Goethe, Johann Wolfgang von, 1749-1832 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_CornellJ_Faustian_Phenomena_2022-10-28 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/659e0661f82854cf0faf805a3ef4b506.mp3 32e08662420be58d7ee1c2a98dfe511d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:57:01 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plato and the Poets Description An account of the resource Audio recording of a lecture given by Elaine Scarry on October 21, 2022 as part of the Dean's Lecture & Concert Series. Creator An entity primarily responsible for making the resource Scarry, Elaine Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-21 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Plato Poetry Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_ScarryE_Plato_and_the_Poets_2022-10-21 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/b1025d8e4bfcbb52bc6895a8529005d0.pdf 79685e97afd3bd2affa6b8f365b90fe6 PDF Text Text HOW OPERA BEGAN (AND WHY IT BEGAN IN FLORENCE) Note: Numbers in red refer to the accompanying powerpoint slides; the symbol [+] indicates an addition to the preceding slide. [ 1] My goal today is to acquaint you with the circumstances leading to the advent of opera and to discuss the culture and events that surrounded its origins in Florence around the year 1600. But, in addition to summarizing HOW opera began (a subject which has already been very well documented in print), I should also like to explore a question that is less often asked - [2] that is, WHY opera began. And more specifically, [+] Why did it begin in Florence? and [+] Why did it begin when it did, at the end of the Renaissance? [3] The Florentine composer Marco da Gagliano (maestro di cappella to the Medici court from 1609 until his death in 1643) provides a useful and accurate outline of "how." [+] In the preface to his opera La Dafne, performed and printed in 1608, he relates the circumstances ofthe genre' s experimental beginnings.' La Dafoe was Gagliano' s own first effort in the new genre, examples of which he called, simply, spettacoli. (The word opera, which means "work" in Italian, only came into use later.) [4] His Dafne was a reworking and expansion of an earlier Dafoe, from the previous decade-the first completely sung musical play. Gagliano relates how that first Dafne came about. He says that, after a great deal of discussion took place concerning the way the ancients had performed their tragedies and about what role music had played in them, the court poet Ottavio Rinuccini began to write the story ([avo/a) of Dafoe, [+] and the learned amateur Jacopo Corsi composed some airs on part of it. In order to see what effect a completely sung work would have on the stage, [+] Rinuccini and Corsi approached the skilled composer and singer Jacopo Peri, who finished writing the music and probably premiered the role of Apollo at the first performance. Gagliano tells us that it took place at "an evening entertainment" during the Carnival season of 1 �1597/8. In the invited audience on that occasion were Don Giovanni de' Medici and (he says) "some of the principal gentlemen" of Florence? [5] Let me quickly fill in the events between 1598 and 1608. Encouraged by the success of the experiments that resulted in La Dafne, [6] in 1600 Rinuccini and Peri collaborate on a second production, which is first performed during the festivities honoring the maniage of Maria de' Medici to Henry IV ofFrance? [+] Rinuccini ' s libretto for this work, L 'Euridice, is printed first, probably as a souvenir of the occasion, and it tells the story of Orpheus and Eurydice. [+] In his preface (dated 4 October), Rinuccini explains that the work was partly motivated by the belief of some scholars that the ancient Greeks and Romans sang their tragedies on stage in their entirety. We understand from this (and other things he and Peri say) that they are interested more in the manner of performance of the new genre- its rhetorical delivery- than in reproducing the content of the ancient plays. We also recognize that their ambition is no less than the revival on stage of the ancient manner of declamation. Now another singer-composer also has a hand in composing L 'Euridice for the wedding celebrations-namely Giulio Caccini, the protege of Count Giovanni dei Bardi; and he has already been promoting a new rhetorical singing style since the meetings of Bardi's Camerata in the 1580s, decades earlier. The rivalry between Caccini and Peri becomes so intense that, [+] at the first performance of L 'Euridice (October 6), Caccini does not allow his pupils to perform any music composed by Peri. The result is that Peri, in the role of Orfeo, sings music that he wrote while his bride, Euridice, sings Caccini's music! (Not a very good start to a marriage patinership! No wonder Orfeo couldn't keep his bride!) [7] Meanwhile, around this same time, Emilio de' Cavalieri, supervisor of the Florentine festivities, [+] publishes his score of the Rappresentazione di Anima e di Corpo) [+] performed earlier that year in Rome; and by the way, take special note of the generic title- Rappresentazione- which I' ll come back to) . But despite Cavalieri' s claims of primacy, this 2 �work is usually discounted in nanatives of opera' s origins because, even though it is sung throughout, its style is far from Peri's declamatory recitar cantando (the Italian expression for what we now call recitative- a style of singing midway between speech and song) and it has a spiritual subject (a 4 dialogue between the Soul and the Body). Such subjets later became the purview of oratorio. [8] A few days after L 'Euridice, [+] Caccini' s opera Il rapimento di Cefalo is premiered (set to a libretto by another prominent com1 poet, Gabriella Chiabrera). This work is, by all accounts, the blockbuster event of the weeklong festivities, but its grandness is not well suited to Caccini's intimate style of solo singing, so it is not favored with publication and is now lost except for the libretto. [9] Not to be outdone, however, [+] Caccini quickly finishes his setting of L 'Euridice and rushes it into print a month before [+] Peri's score gets published early in 1601. 5 [10] But Caccini' s completed version doesn't premiere [+] until late in the following year (1602), after his collection of solo songs, [+] Le Nuove musiche, puts him on the map as a composer. Then, Rinuccini goes to France in the entourage of Maria de' Medici, Cavalieri stays in Rome, and Peri and Caccini remain in Florence, which soon takes a back seat in operatic developments. But their personal rivalries, fueled by the printers who quickly published their works, and the public competition among p1inces to garner attention with their patronage, are some of the factors that fostered the endurance of the first completely sung musical tales and their spread to other urban centers- Mantua, Rome, Venice, and elsewhere, both inside and outside the Italian peninsula. [11] Within the decade, the masterful madrigal composer Claudio Monteverdi (156?-1643) [+] makes his debut in the field with Lafavola d'Orfeo (1607), in Mantua, the first opera to achieve a place in the modern repertory. [1 2] The following year, Rinuccini, by this time back from France, collaborates with Monteverdi to create [+] L 'Arianna-now lost except for the Lament, which was destined to become the most famous piece of music of the seventeenth century. L 'Arianna completely eclipses 3 �L 'Orfeo; judging by all the descriptions of its performance, it is the work that brings the development of opera to its first great peak after only one brief decade, and makes all previous efforts look pale by comparison. [An aside: I don't know how many of you saw NY Times critic Anthony Tommasini's list of his top ten classical composers published in the Times earlier this year, but Monteverdi didn't make it onto the list; no composer before Bach did. In an effmi to placate some outraged readers, though, Tommasini conceded Monteverdi' s greatness, saying "Though Monteverdi did not invent opera, he took one look at what was going on in Florence in 1600 and figured out how this opera thing should really be done."] [13] Let's now hear the opening section of Monteverdi ' s Lament of Arianna, the only surviving piece from the opera. Listen especially to the way Monteverdi allows the phrases of text to dictate the contours and rhythms of the melody-expanding the range of the second phrase for emphasis; and in the next phrase, how he makes the melody rise Gust as in speech) to express Arianna 's rhetorical question (Who can console me); and on the return ofthe opening words, how Monteverdi rubs our noses in what was for its time a very strong dissonance between voice and bass to express the rawness of Arianna' s emotion. [Play] The Lament continues for another 7 or 8 minutes, during which Arianna conveys a gamut of emotions ranging from anger and scorn at Theseus ' s betrayal to tenderness and resignation. [ 14] So now, having seen that Florence was the birthplace of opera, let' s ask why. [1 5] Why Florence? [+] First of all, Florence had a long tradition of musical theater in the sixteenth century, principally in the productions known as intermedi that were staged between the acts of spoken plays. Intermedi were only one of many types of theatrical entertainment produced by courts all over Europe. [+] But the Medici outdid all the rest in 1589 by staging the most magnificent and extravagant spectacle ever seen in order to celebrate the marriage of Grand Duke Ferdinanda of Tuscany to the French Princess Christine of Lonaine, a union that had been in negotiation for nearly 4 �a year. The intermedi that were produced for this event climaxed a monthlong sequence of public and courtly pageantry that combined all the intellectual, artistic, and administrative forces of Tuscany at the height of its wealth, power, and cultural prestige. One court chronicler wrote, "Their splendor cannot be described, and anyone who did not see [the production] could not believe it." [ 16] Next, unlike other cities, Medicean Florence also had a particularly rich history of [+] "civic humanism" 6-which means that its more educated citizens were involved in a network of formal and informal academies that were engaged in studying the Greek and Latin texts of the ancients. [1 7] Bardi' s so-called Florentine Camerata, where Caccini was groomed, was only one of many such groups. Bardi was also a member of the Alterati, to which Rinuccini and Corsi belonged, and Corsi probably also had his own circle, the group that ultimately produced the first Dafne . We can think of them as satellite courts, surrounding and drawing inspiration from the brlliant Medici rulers. And their members all interacted in the planning and production of the 15 89 intermedi, which was largely Bardi' s brainchild but which required everyone else to contribute their efforts as well. [18] Finally, as Gary Tomlinson and others have suggested, [+] Florence was the center of a particular Renai ssance worldview that saw music as having a "magical" role in the cosmos and in mankind 's interaction with it. 7 This particular worldview was rooted in Platonic thought, which held that the individual was connected to the entire universe through harmony. [+] Therefore, it followed that the best way to express this connection was by giving voice to song. So, in the court culture of Florence during the late fifteenth century and throughout the sixteenth, singing-and especially solo singing- took on very special significance. Before moving on, I want to look more closely at each of these three elements- intermedi, humanism, and musical magic- in order to see how they came together at the end ofthe sixteenth century and resulted in Florence becoming the birthplace of opera. 5 �[19] The Florentine intermedi were lavishly produced pageants involving sumptuous costumes, special effects, instrumental music, dance, and song. They were produced as entr' actes to comedies or pastoral plays at court and served to separate the divisions of the spoken drama, since there was no curtain to be dropped. The 1589 intermedi were planned and rehearsed months in advance, and their cost and impact dwarfed that of the main drama [Bargagli 's play La Pellegrina] , so that absolutely no doubt remained in the minds of the invited guests about their host's wealth, . an d power. 8 generosity, [20] A huge team of artists, artisans, poets, musicians, architects, and technicians was assembled under the intellectual guidance of the prominent Florentine aristocrat and military leader [+] Giovanni de ' Bardi (1 53 4-1612), who formulated the underlying conception of the inte1medi, 9 served as stage director, and coordinated all the thematic and antiquarian aspects of the project. As the moving spirit behind the program, Bardi worked closely with the court poets, [+] principally Ottavio Rinuccini ( 1562- 162 1), who wrote most of the text of the intermedi and later wrote the verse for the first opera libretto, La Dafne. 10 [+] Emilio de ' Cavalieri (c.1550-1602), the recently appointed superintendent of music at the ducal court who had been in F erdinando ' s retinue while he was still a cardinal residing in Rome, became the show's musical director. [+] The court architect-engineer Bernardo Buontalenti (c.1531-1608), who had constmcted for the Medici the first permanent indoor theater with a modem proscenium arch only a few years earlier, remodeled it for the occasion, and designed the sets and costumes. 11 [ +] The music was largely composed by court organist Cristofano Malvezzi and madrigalist Luca Marenzio, with individual contributions by the young composersinger Jacopo Peri (1561 -1633), by Bardi' s protege Giulio Caccini (15 5 1- 1618), and by Bardi himself, among others. 6 �[21] Bardi conceived the set of six intermedi as "a sort of mythological history ofmusic," 12 very suitable for a wedding celebration because it depicts the descent of Harmony as a gift from the gods and predicts a new Golden Age to be inaugurated by the newlyweds. Moreover, the individual tableaux are loosely unified by the literary theme of the power of music, a topic of longstanding interest to the Florentines, as we shall see. The opening intetmedio contemplated the harmony of the spheres. The next, by representing a song contest between the Muses and their rivals the Pierides, dwelt on the virtues and virtuosity of song. [22] The third enacted the combat between Apollo and the Pythic serpent, prefiguring the opening scene from Rinuccini ' s and Peri ' s first opera, La Dajne. So it actually introduced the first operatic hero, [23] Apollo-god of music and of the sun, and, according to some accounts, father of the legendary musician Orpheus, who became in tum the protagonist of several early opera libretti. (That' s Apo llo swooping down to attack the dragon.) [24] The fifth intetmedio gave a prominent role to Jacopo Peri, who composed and performed his first piece for solo voice to portray another poet-musician of antiquity, Arion; according to myth, Arion was saved from drowning by a dolphin attracted by the dazzling power of his song. [25] In the concluding intetmedio, harmony and rhythm are given to mere motials, represented by the nymphs and shepherds of Arcadia, who are instructed by the gods in the mi of dancing during an elaborately choreographed ballo. [26] The 1589 intermedi had many of the same players and almost all the ingredients of opera-gorgeous costumes and scenery, [27] stage effects (for example, the life-size fire-spitting dragon slain by Apollo), 13enthralling solo singing, colorful instrumental music, large concerted numbers, dance-everything except a unified action and the rhetorical style of dramatic singing yet to be created. It remained for a few pioneering individuals to shape these elements into opera, a new 7 �and quite "noble style ofperfmmance" 14 that, by emulating ancient theater, would revive the power of modem music to move the emotions. [28] Now let' s turn our attention to the second of the three elements that contributed to making Florence the birthplace of opera: [+] HUMANISM. In its narrowest sense, humanism was an interest in the culture and texts of antiquity on the part ofthe city' s more educated or elite citizens- those who joined the network of academies I mentioned earlier. As we' ve seen, the first opera librettist, Rinuccini, maintained that his joint experiments with Corsi and Peri were motivated by the belief of some scholars that the ancient Greeks and Romans sang their tragedies on the stage in their entirety. 15 In fact, Renaissance scholars disagreed among themselves about the role of music in ancient tragedy, but what matters in our narration is that Rinuccini and his associates gave credence to the idea. [29] A modem scholar of musical humanism (Gary Tomlinson) has called attention to three different but related types of humanism. There was philological humanism, which fostered the transmission, translation and interpretation of ancient texts. [+] The person who comes to mind in this regard is Girolamo Mei, the very erudite philologist who transmitted his ideas about language and ancient music to Bardi and became a sort of mentor to the Florentine Camerata. [+] Then there was rhetorical humanism, modeled on the principles of persuasive oratory, which Renaissance men of letters adapted to their own debates and writings. [+] An example of this type of humanist might be Vincenzo Galilei, who wrote his treatise for the Camerata (Dialogo della musica antica e della moderna, 1581) in the conventional Renaissance fmm of a dialogue-a conversation between two friends (one of whom is named after Count Bardi) debating the merits of ancient and modem music . (More about this in a moment.) [+] And finally, there was what Tomlinson calls " ordinary-language humanism," - a view that underlay "the whole late-Renaissance exaltation of music 's affective 8 �powers"; 16 and, in one way or another, this view accounts for the great importance that all of Renaissance musical culture placed on expressing the meaning of the text. Ordinary-language humanism credited language itself- the very sound and shape of the words rather than the eloquence with which they were arranged-with the ability to communicate meaning and emotion. Now, it must have been possible to subscribe to all three types of humanism, and no doubt someone like Mei did. [+] But it seems to me likely that the court poet Rinuccini, and his collaborators Corsi and Peri, who did not know Greek or Latin and were not trained as scholars, nevertheless adopted this ordinary-language humanism as their type of Greek revivalism, and one that motivated them to create the first opera. Where did these ideas come from? [30] Rinuccini belonged to the Alterati Academy- its very name (Academy of the Altered Ones) acknowledged the ability of ideas to effect change in human beings. The Alterati membership included the widely read and accomplished Count Bardi, already a member of long standing by the time Rinuccini was initiated in 1586, three years before they collaborated on the elaborate wedding intermedi. Another member was the remarkable scholar Girolamo Mei (1519-94), who was Florentine by birth, but worked in Rome and made known the results ofhis research into Greek music in his letters to Bardi and the other academy members. A brilliant philologist, Mei promoted theories about language that were in fact as central to the genesis of the new dramatic style of singing as his convictions about Greek music were essential to the origins of opera; for Mei believed not only that poems and plays were always sung in ancient times, whether by soloists or chorus, but also that they were sung monophonically- using one melody at a time, without competing lines-so that the words as sounding structures could act on the listeners' souls. And finally, the Alterati also counted among its members another Florentine nobleman, Jacopo Corsi (1561-1602), 17 the enthusiastic amateur who partially composed, and fully sponsored, 9 �the production of the first completely sung play, La Dafne, in 1597/8. 18 [+] So it is with good reason that the Alterati of Florence have been called by one modem scholar (Claude Palisca) "pioneers in the theory of dramatic music." 19 [3 1] Now, Count Bardi also had his own circle of friends with similar humanist and musical interests, a more informal academy that met in his palace and came to be known as the (Florentine) Camerata. 20 As the coruiier chiefly responsible for organizing entertainments for the Grand Duke, Bardi naturally became interested in theatrical or dramatic music and eagerly cultivated his relationship with Mei.21 [32] These two, then, were key players in both the Alterati Academy and the Camerata, and it is obvious that both groups shared a concern with musical humanism. Bardi 's inner circle also included the singer-lutenist-composer Giulio Caccini (whom he involved in the 1589 intermedi) as well as Vincenzo Galilei (ca. 1530-9 1), another talented singer-lutenist-composer in his employ. Galilei, father of the revolutionary thinker and astronomer Galilee, had studied with the most famous counterpoint teacher of the age, Gioseffe Zarlino, and had already published a text on how to arrange polyphonic music for so lo voice and lute til Fronimo, 1568), a medium that became increasingly popular during the last quarter of the century. 22 Under the influence ofBardi and Mei, [33] Galilei wrote his Dialago della musica antia e della moderna, 1581 ,23 which soon became the Camerata' s radical manifesto, for it ruiiculated the principles of ordinary-language humanism in the most radical way imaginable for a sixteenth-century musician: do away with vocal counterpoint altogether and revert to a type of nonpolyphonic composition combining words, melody, and simp le accompaniment (which we now call monody). Galilei reasoned that only monody was capable of imitating nature- that is, the "natural language" of speech, through which a person's character and states of soul are reflected. Mei, his mentor, taught that ancient music had always presented a single affection embodied in a single 10 �melody.24 He believed that melody alone could convey the message of the text through the natural expressiveness of the voice-via the register, rhythms, and contours of its utterance-and it could do this far better than the contrived delivery of a polyphonic texture? 5 Like Mei , Galilei was convinced that counterpoint was ineffective because it presented contradictory infmmation to the ear. When several voices simultaneously sang different melodies and words-pitting high pitches against low, slow rhythms against fast, rising intervals against descending ones- the resulting web of sotmds was incapable of projecting the semantic meaning or emotional message of the text. Only by returning to an art truly founded on the imitation of human nature rather than on contrapuntal artifice would it be possible for modem composers to realize the acclaimed effects of ancient music. Plato had taught that song (melos) was comprised of words, rhythm, and pitch, in that order. From that concept followed two important humanist ideas. First, music and poetry were two sides of a single language; second, song arose from an innate harmony within the words that was muted in normal speech but manifest in heightened speech. [34] For this reason, Galilei advocated the art of rhetoric as a model for modem musicians, urging them to imitate the manner in which successful actors delivered their lines on stage: Kindly observe in what manner the actors speak, in what range, high or low, how loudly or softly, how rapidly or slowly they enunciate their words ... how one speaks when infuriated or excited; how a married woman speaks, how a girl, how a lover ... how one speaks when lamenting, when crying out, when afraid, and when exulting with joy?6 For Galilei, it is clear that "how one speaks" (or declaims) the words reveals their underlying emotion. For the composers of monody and theatrical song, by extension, it then became a question of" how one sings" the words to disclose their innate significance? 7 (35] In order to see the important role that singing had in Florentine culture, I want to return to the third element in my discussion of why Florence was the bitthplace of opera: [36] Musical 11 �Magic. More than a century before the first experiments in opera, [+] Angelo Poliziano had dramatized the myth of Orpheus for the Florentine cultural elite. His Orfeo (1480), the earliest secular play in Italian, received numerous editions during the sixteenth century and became, in effect, a Medici literary classic, popularizing through the Orpheus legend the marvels of ancient music and musicians. 28 [+] The musicianpar excellence of antiquity, Orpheus had been able to tame the beasts of nature and charm the infernal gods into allowing him to lead Eurydice out of the Underworld-all by means of the power of his spellbinding incantation. [37] Poliziano himself was a member ofthe Neoplatonic circle (+] sunounding Lorenzo de' Medici (known as the "Magnificent" because ofhis brilliance and erudition). The main intellectual figure in his informal academy was [+] another erudite Florentine, Marsilio Ficino (1433-1499), a humanist well versed in Platonic thought. As early as 1489, Ficino postulated a "music-spirit" theory which explained the peculiar power of music by the fact that sound, unlike other sensual stimuli, is canied by air and is therefore similar to spiritus, the substance that mediated between body and sou1. 29 Ficino also believed that the human voice, through music, provided the link between the earthly world and the cosmos. Because Platonic thought held that the individual was connected to the entire universe through harmony, it followed that the artful singer could express psychological and moral reality through his voice and could use his rhetorical powers to make that reality present to others. 30 By employing certain patterns of conespondence between micro- and macrocosm, between the motions of the human soul and the hidden harmony of the cosmos, the singer could manipulate the listener's responses- a notion very much in keeping with the Aristotelian concept of imitation or mimesis. The composer-singer, then, in the guise of the legendary Orpheus, became the expressive agent of that artistic power. And Florentine Neoplatonism, in the artistic manifestation ofPoliziano' s Orfeo- 12 �a spoken drama with interpolated song3 1-helped to stimulate a century-long fascination with the expressive powers of music. So, in the court culture of Florence during the late fifteenth century and throughout the sixteenth, singing-and especially solo singing- took on very special significance and it is easy to understand how Mei, Bardi, Caccini, Peri, and Rinuccini, being products of a culture steeped in Neoplatonic musical thought, were heirs to these Renaissance ideas about the magical effects of song. Mei shared some of Ficino ' s "music-spirit" theories, particularly those which held hearing to be superior to the other senses in its ability to act on the soul ' s passions. 32 As we have seen, Bardi' s program for the 1589 intermedi revolved around the power of song while his protege, Caccini, revitalized the Renaissance ideal of incantatory solo singing for the Camerata in his madrigals for solo voice he later collected and published as Le nuove musiche (1602). 33 ln creating the first opera libretto, Rinuccini, under the weight of Florentine and Medicean tradition, [+] looked back to Poliziano 's fable of Orfeo. Not only was Orpheus a fitting protagonist for a completely sung music drama aiming to demonstrate the power of song, but also, as Tomlinson points out, the fable ' s outcome and that of the other earliest tales of opera [quote] "vindicated the occult harmony of the cosmos . . . : [38] in the answer to Daphne' s just prayers by her magical transformation [into a laurel tree] , [39] in the alleviation of Ariadne' s woes by the miraculous descent of Bacchus, [40] and in the transformative power of song in . .. [the] Orpheus librettos." 34 Like Ovid' s tales of metamorphoses from which they were drawn, these early opera were fabrications or fables (favole) and, by focusing on timeless myths involving love and loss, they sought to dramatize, externalize, or represent human sentiment. And what better way was there of realizing the transformative power of song and Orfeo' s vocal magic than through musical speech? This was at the heart of the notion of the representational style (stile rappresentativo). Peri' s invention of the dramatic and rhetorical style of singing known as 13 �recitative, then, was rooted in the conviction that musical speech was capable of transmitting an inner, emotional reality and could therefore represent human affections on stage. The communication of affections on stage in opera by singing and acting bodies can only be experienced in the presence of both actors and listeners; and it can only be explained in the context of the location and the actual moment of the performance- the rappresentazione. The defining nature ofthe location or space makes the listener a component part of the musical process. In this way, early opera depended on both the sense of sight and hearing as no other musical art form (except the intetmedi and court ballets) had done before. In fact, only a few years before the 1589 Florentine intermedi, [41] the court architect-engineer Bemardo Buontalenti had constructed for the Medici the first petmanent indoor theater with a modem proscenium arch. This is significant because the proscenium arch not only frames a view into the illusionary depths ofthe representation, but also allows the performance taking place to be directly addressed to the viewer. And this is precisely what painting had been striving to do since the advent of perspective in the Renaissance. All of which finally brings me to the last of my concerns: [42] why opera began when it did- f+] around the year 1600, at the end of the Renaissance. The short answer (but one that r will elaborate upon in the remaining time) is this: it was the consummation of an idea that reigned supreme during the Renaissance- namely, that the sister arts of painting, music, and poetry all had the ability, through imitation, to portray some sort of psychological and moral reality; what's more, they all had the power-even the obligation-through rhetorical means to make that reality present to others. This view had long been held about the verbal arts, but the rivalry between poetry and painting during the sixteenth century, deriving from Horace's famo us simile ut pictura poesis (as painting is, so is poetry), led painting to acquire the status of a liberal art, one that deserved equally serious consideration as that given to poetry. [43] Roger de Piles (1635-1709), one of the most influential art 14 �theorists of the next century, was unequivocal in this matter: "One must think of painting as a kind of stage on which each figure plays its role." He also tells us that the "principal end" of the painter is "to imitate the mores and actions of men. " 35 And we have seen that humanism demanded no less from composers and musicians. A moment ago, I remarked that the communication of affections on stage, in opera, by singing and acting bodies, can only be experienced in the presence ofboth actors and listeners or viewers, and now I want to concentrate on the viewers. For, if the aim of the sister arts was to communicate the affections or passions-to imitate or represent affections in order to stimulate passions in the viewer-then the audience was clearly an important part of the process. It seems to me that painting offers a very instructive example of how all the arts, but especially opera at the beginning of the I i 11 century, defined themselves by the effect they had on the spectators. [ 44] In a book about The Origins of the City of Florence and Its Famous Citizens (De origine civitatis Florentiae et eiusdem famosis civibus, 1381 -2), the Florentine humanist and chronicler Filippo Villani describes the many-faceted accomplishments of Florentine culture. His main theme was that this culture had declined in his own age (late 14th century), and that Florentines needed to be reminded of the greatness of such earlier citizens as Dante and Giotto and others of their generation. But Villani also included an entire chapter on painters and what I find noteworthy is that his remarks about Giotto make clear his belief that painting should aspire to the condition of theater: [+] Images formed by [Giotto 's] brush agree so well with the lineaments of nature as to seem to the beholder to live and breathe; and his pictures appear to perform actions and movements so exactly as to seem from a little way off actually speaking, weeping, rejoicing, and doing other things, not without pleasure from him who beholds and praises the talent and skill of the a11ist. [45] Villani could have been talking about this painting from the series by Giotto in the Arena chapel. 15 �Two generations later, in Florence, Leon Battista Alberti wrote a famous treatise on painting (Dellapittura, 1435-6), which reveals that his conception ofthe art grows directly out ofrhetorical humanism. [46]He bases his theory of pictorial composition-the way in which a painting can be organized so that each plane surface and each object plays its pmi in the effect of the whole--on the model of rhetorical compositio, or the way that a sentence is built up from a hierarchy of elements. Words are fitted together to make phrases, phrases to make clauses, and clauses to make sentences. In pictorial composition [use pointer], the pmis of the nanative are bodies, the parts of the body are members, and the members are made up of plane surfaces. Compositio, according to Alberti, is that method of painting which composes or puts all these interdependent elements together in the work of mi. And again, his way of speaking of the work suggests a theatrical performance: [47] "In my view," he says, " there is no painted nanative so filled with so great a variety of events that nine or ten persons will not be capable of acting them out quite fittingly." 36 Alberti hirnselfrefers his readers back to Giotto 's work, but the mid-fifteenth-century painter perhaps most influenced by Alberti [48] was Andrea Mantegna, who produced the finest visual models of Alberti ' s ideas about composition. One of them is this engraving of the Entombment. The maximum ten figures are evident. Their planes or gatherings of drapery are formed into members- their various limbs or body parts; the members are hmmonized to create bodies or whole figures ; and the ten different bodies are intenelated to form the nanative. Now, it was also the Florentine school of painting that worked out the principles of linear perspective, and their fust theorist was again Alberti. [49] Here ' s a medieval Last Supper, a manuscript illustration from about the year 1200. Its two-dimensional style of spatial representation makes the picture face the viewer like a flat wall, generally excluding us from what appears as a selfcontained, closed world. [50] With central perspective, however, the relation to the viewer changes. 16 �In Leonardo 's Last Supper, painted in the last decade of the fifteenth century, the figure of Christ is placed in the center of the composition, which is at the same time its vanishing point. The frontally oriented table and back wall support the majesty and stability of the principal figure, whereas "the side walls and ceiling swing outward, as though in a gesture ofrevelation." 37 [51] A modem diagram of the painting's perspective makes it clear that the principal structural lines are a system of beams coming from a focus within the picture space and breaking through the frontal plane as they move forward, opening the picture like a flower toward the viewer. This explicit acknowledgment of the viewer is the visual expression of the fact that the world represented in the picture is being sighted. In other words, the image presents a world seen from the viewpoint of an individual observer, and therefore changes the pictorial conception of space in a way that invites a new level of awareness on the part of the spectator. [52] The Renaissance architect Palladia detennined that the vanishing point should be placed in the center in order to give any picture maesta and grandezza, and indeed the symmetry of Leonardo' s painting lends a certain gravitas to its style and subject. But as the stylistic outlook changes in the later sixteenth century, so does painting's relation to the viewer. Perhaps the painter most emblematic of the style changes that took place in the early seventeenth century was Michelangelo Merisi da Caravaggio (1571 -1610). [56] Among his very early works, Boy Bitten by a Lizard dates from approximately the same years as Peri' s and Caccini's first operas, La Dafne and L 'Euridice. Scholars explain the picture mainly as a study of extreme expression, and essentially realistic in its intent. Indeed, the painting should more appropriately be called Boy Being Bitten by a Lizard because [57] it depicts the very instant when the lizard emerges from the fruit on the table to bite his finger and, at the same time, demonstrates the artist's skill in representing (and I use that word very purposefully) the fleeting moment of the boy's reaction, as his 17 �expression registers the surprise and sharp pain ofthe lizard ' s attack. [58] The painting is therefore a study of both physical action and psychological reaction- as are many Baroque representations that portray instantaneous and violent action as well as the expression of the emotions resulting from that action. We need only think of Eurydice' s death by snakebite and Orfeo' s subsequent stunned reaction to fmd fitting parallels. Just as Caravaggio captured the immediacy of the boy' s reaction, Peri, Caccini, and (of course) Monteverdi in their footsteps, managed to convey Orfeo's intense emotion in the expressive recitative which he sings ("Non piango, e non sospiro ") in reaction to Eurydice's death. Modern commentators have stressed the forcefulness with which Caravaggio's paintings at all stages of his career thematize or otherwise draw attention to their relation to the viewer. I suggest that the early operas similarly thematize or draw attention to their relation to the listener-by representing both action and reaction, making them present to the listener via the new musico-theatrical device of recitative. It is as though atiists and musicians are exploring the whole issue of spectatordom in both painting and music at precisely the same historical moment, around the year 1600. [59] Another work from this period that calls attention to the depiction of action and reaction as well as to the issue of spectatordom is Judith Beheading Holo.f§r_nes (ca. 1620) by Artemisia Gentileschi (1593-1653). In the destabilizing flow and counterflow ofthe painting, Judith's maidservant (in the center) struggles with the victim' s thrusting arms as Judith herself concentrates on her deadly action; she performs the deed at arm's length as though she were at the same time reacting by distancing herself in disgust from her victim 's gushing blood. [60] Notice how similar are Judith' s features to Artemisia' s, which we see in the painter' s self-portrait. That allows us to think of Judith-the-executioner as a stand-in for Artemisia the painter-not only because they look alike but also because they are both initiating their actions (Judith is slaying Holofernes, Artemisia is 18 �painting her own portrait). [6 1] We also see how Holofemes is looking out at us, as though pleading with us to intervene as we try to avoid being splattered with his blood. In this way, we viewers are being drawn into the action as well. What I'm suggesting, therefore, is that the work itself masterfully evokes both the making and the viewing of the picture, both for the benefit of the spectator. And in this way, by so forcefully merging their subjects with the viewer's environment, early modem artists sought to act upon and move the emotions of the spectator. The key phrase here is "merging the subj ect with the environment," creating the illusion that the spectator is part of the action or even part of the scenery. [62] The court architect Buontalenti had already achieved this when he completed in the 1580s and 90s the spectacular grotto for the Medici princes in the Boboli gardens behind their apaJtments in the Pitti Palace. f63 ] Here, a decade before opera began, is a bucolic fantasy land, a retreat full of partly sculpted and partly frescoed images replicating the pastoral grottoes of Tasso 's Aminta or the Pastor jido (the Fait~fitl Shepherd by Guarini). [64] The spectator enters through the fa9ade, under the Medici coat of arms, and [65] steps into a mythical world fabricated for the imagination, in which the viewer becomes a faithful shepherd or a sylvan nymph, surrounded by the companions of Arcadia. [66] He or she is completely contained within an illusory world. [67] As far as I know, the grotto was never used as a theater; rather, it was a playground for the courtiers and their guests, who could take refuge from the f68] garden ' s midday sun and refresh themselves in the grotto' s cool shade. [68] In his important book From Art to Theatre, George Kernodle states that "modern theatre grew out of the desire to see and hear with living actors the romantic stories and allegorical fancies already portrayed by the painters." 38 [69] If we substitute (+] the words early opera and [+] singing actors, we can understand how the new favola tutta in musica was also an entirely logical outcome of the whole development of Renaissance rut and music in Florence. In other words, opera was the sonic 19 �realization in three dimensions of the fonns and conventions of its painting, sculpture, poetry, and song. The Florentine school had worked out the principles of linear perspective in two dimensions; [70] Renaissance architects like Baldassare Peruzzi (whom Vasari credits with the development of perspective scenery) reproduced the effects of painting in three dimensions, bringing the settings and backgrounds of the pictures to life on stage. The resulting illusionistic set designs, when framed by the new proscenium arch, reproduced a spectacular and complex unified painting through which the action could be addressed directly to the viewer. An exact relation, unknown before, was established between audience, actor, and setting which promoted the spectator's sense of being surrounded by or merging with the theatrical setting, an effect that Buontalenti later realized in the Boboli grotto. And when the scenery enclosed actors who were presenting the new recitative forged by Florentine composers and singers-that sui generis style of solo singing that heightened the delivery of speech but was more naturalistic than song-they realized Galilei's ideal of the actor who delivered his lines so as to reveal the emotions that lay behind the words, engaging the listener as never before. So, the integration of the sister arts in this way invested the new art fmm with a rhetorical power that could not be matched by any ofthem individually. [71] Since we don' t have any sets that survive from the earliest court operas, I'd like to close by looking at a much earlier painting sometimes attributed to the young Titian, and dating from the early 16111 century, but depicting the same subject as that which interested the early opera poets and composers. Eurydice appears in the foreground, having been stopped in her tracks by the serpent' s venomous bite. [72] I suggest that the shepherd in the middle ground is Aristaeus, from whom Eurydice was fleeing in Ovid's original story. Further to the right is perhaps one of Eurydice' s companions, who is running off to tell Orpheus about his sudden reversal of 20 �fortune. Of course, [73] the bucolic scene presents an entirely different problem in terms of perspective than an urban setting. Titian tried to create a sense of depth by duplicating a series of similar forms on successive planes of the picture, one behind the other. So the central cavernous structure which seems to be inhabited by ghostly heads is repeated further back, where its fiery opening certainly suggests Hades and behind that one, another furnace-like structure smokes in the distance. Did Titian imagine that Orpheus would have to go through a series of Underworld landscapes to retrieve his bride? Granted, Titian's painting is not a stage set; but if you were trying to reproduce it or any sort of pastoral setting in the theater, you can see the problems that might present themselves. [74] The absence of a single strong focal point of the sot1 that court architects could devise for their street settings, which brought the viewer into the actors' illusory world-the absence of such a focal point might lead you to rely more urgently on the sense ofhearing than the sense of sight in order to sunound the viewer. [75] Therefore, the representation of an entirely sung play in an Arcadian setting (such as La Dafoe or L 'Euridice) may in part have been motivated by the desire to surround the spectators with a sonic environment-a rappresentazione tutta in musica- that helped to bridge the gap between reality and the mythical world they were being invited to experience. In conclusion, I want to leave you with the idea that opera was, from its beginnings in Florence around the year 1600, a socially shared experience irt which acting and singing-and particularly singing in the new, recitative style, about love and loss-was the culmination of a certain rhetorical type of speaking picture that had long been nurtured by the Renaissance imagination. Its aim was to revive the humanist ideals of incantatory singing so admired by the Florentine Neoplatonists and the style of theatrical declamation believed to have been so effective in ancient drama. It brought the spectator into a new relationship with the stage, heightening the immediacy of 21 �its illusions and acting on the emotions through the sense of hearing as well as seeing. With Monteverdi, it spread to Venice and then throughout the Italian peninsula as well as elsewhere in Europe and the Americas. The collaborators of the first operas believed they were creating a geme in which music and poetry, in order to serve the drama, were fused into an inseparable whole, a language that was in a class of its own-midway between speaking and singing. Looking ahead, briefly, to the decades and centuries that followed, an increasing separation between recitative and aria (or between musical declamation and outright song)-with recitatives becoming more perfunctory and arias more elaborate-the balance between these elements repeatedly shifted to favor music and singing at the expense of text and dramatic integrity, only to be brought back into relative equilibrium by various "reforms." But in the main, opera as it was envisioned at the dawn of the seventeenth century by a few Florentine noblemen and musicians has endured, uninterrupted, in Western culture for 400 years and counting. Barbara Russano Hanning March 25, 2011 ' Marco da Gagliano, preface to La Dafne (Florence, 1608; facs. Bologna, 1970). The translation used here is based on that of Carol MacClintock, Readings in the History of Music in Performance (Bloomington and London: Indiana University Press, 1979); see 188. 2 Gagliano, ibid; see MacClintock, 188-89. The full text with an English translation (by Tim Carter) may be seen in Composing Opera: From "Dajne" to "Ulisse errante," ed. Tim Carter and Zygmunt Szweykowski (Cracow: Musica Iagellonica, 1994), 46-67. 22 �3 Claude V. Palisca, "The First Performance of Euridice," in the Twenty-fifth Anniversary Festschrifl (193 7-62) [of Queens College], ed. Albert Mell (New York: Queens College of the City University of New York, 1964), 1-23; repr. with a new introductory headnote in Palisca, Studies in the History of Italian Music and Music Theory, 432-51 . Further on Euridice see, inter alia, T. Carter, " Jacopo Peri 's Euridice (1600): A Contextual Study," The Music Review 43 (1982) 83-103, repr. in Carter, Music, Patronage, and Printing; Kelley Hamess, "Le tre Euridici: Characterization and Allegory in the Euridici of Peri and Caccini," Journal ofSevententh-Century Music 911 (2003) http://sscmjscm.press.uiuc.edu/jscm/v9no 1; Bojan Bujic, " Figura poetica molto vaga": Structure and Meaning in Rinuccini 's Euridice," Early Music History 10 (1991), 29-62; and Gaspare de Caro, Euridice: Momenti dell ' Umanesimo civile fiorentino. 4 La rappresentazione di anima, et di corpo novamente pasta in musica dal sig. Emilio del Cavalieri per recitar cantando (Rome, 1600). This judgment of Cavalieri's work was suggested by the Florentine man of letters Giovanni Battista Doni (1595-164 7), perhaps the first historian of early opera. Further on Cavalieri see Claude V. Palisca, "Musical Asides in the Diplomatic Correspondence of Emilio de' Cavalieri," Musical Quarterly 49 (1963), 339-55, repr. in Palisca, Studies in the History of Italian Music and Music Theory, 389-407. For a defense of Cavalieri' s contribution to the creation of opera, see Warren Kirkendale, Emilio de' Cavalieri, 'Gentiluomo Romano ': His Life and Letters, His Role as Superintendent ofAll the Arts at the Medici Court, and His Musical Compositions (Florence, 2001 ), 185-212. 5 L 'Euridice composta in musica in stile rappresentativo da Giulio Caccini detto Romano (Florence, 1601 ; facs. Bologna, 1968). In the dedication to Bardi, Caccini lays claim to "having been the first to give to the press like kind of songs, and the style and manner ofthem, .. . composed by me more than fifteen years ago at various times, since I have never used in my works any other a11 than the imitation of the sentiments of the words, ..." (referring to his new score as well as to the monodies yet to be published in Le nuove musiche). The dedication is printed and translated in Carter, Composing Opera, 35-41 , and trans. in Strunk, Source Readings, 606. Caccini' s complete score, however, was not performed in its entirety until 1602. (The 1600 performance had been largely of Peri' s music.) 6 The concept of civic humanism was elaborated in Hans Baron, The Crisis of the Early Italian Renaissance, 2 vols. (Princeton, 1955; rev. 1966) and Eugenio Garin's Italian Humanism : Philosophy and Civic Life in the Renaissance, trans. Peter Munz (New York, 1965); see Gary Tomlinson, "Renaissance Humanism and Music," European Music, 1520-1640, ed. James Haar (Woodbridge, UK; Rochester, NY: Boydell Press, 2006), 1-19, esp. 9-10. Also see the more recent study of Florentine civic humanism as it concerns the birth of opera: Gaspare De Caro, Euridice: Momenti dell 'Umanesimo civile fiorentino (Bologna: Ut Orpheus edizioni, 2006). 7 Gary Tomlinson, " Pastoral and Musical Magic in the Birth of Opera," Opera and the Enlightenment, eds. Thomas Bauman and Marita McClymonds (New York: Cambridge University Press, 1995), 7-20. Also see D. P. Walker, Spiritual and Demonic Magic from Ficino to Campanella (London: The Warburg Institute, University of London, 1958) and Ruth Katz, Divining the Powers of Music: Aesthetic Theory and the Origins ofOpera (New York: Pendragon Press, 1986), esp. 87ff. 23 �8 James M. Saslow, The Medici Wedding of 1589: Florentine Festival as "Theatrum Mundi" (New Haven and London: Yale University Press, 1996), 2. For a summary account of the intermedi, see Alois M. Nagler, Theatre Festivals of the Medici (New Haven: Yale University Press, 1964, 58-69. The relevant documentation is also illustrated in a recent exhibition catalogue: Maria Adelaide Bartoli Bacherini, "Per un regale evento ": Spettacoli nuziali e opera in musica alia corte dei Medici (Florence, 2000). For an edition, see Les Fetes du marriage de Ferdinand de Medic is et de Christine de Lorraine (Florence, 1589), I: Musique des intermedes de "La Pellegrino," ed. D.P. Walker (Paris, 1963 ). 9 Further on Giovanni de' Bardi, see Tim Carter, "Per cagione di bene, et giustamente vivere: Some Thoughts on the Musical Patronage of Giovanni de' Bardi," Neoplatonismo, musica, letteratura nel Rinascimento: I Bardi di Vernia e l'Accademia della Crusca; atti del Convegno lnternazionale di Studi, Firenze-Vernio, 25-26 settembre 1998. Edited by Piero Gargiulo, Alessandro Magini and Stephane Toussaint (Paris: Societe Marsile Ficin, 2000) 137-46; Claude V. Palisca: "The Musical Humanism of Giovanni Bardi," Poesia e musica nell'estetica del xvi e xvii secolo, ed. H. Meyvalian (Florence, 1979), 45-72; and Wanen Kirkendale: The Court Musicians in Florence during the Principate oft he Medici (Florence, 1993). 10 On Ottavio Rinuccini see, inter alia, Barbara Russano Hanning, Of Poetry and Music's Power: Humanism and the Creation of Opera (Ann Arbor, MI: UMI Research Press, 1980), esp. chap. I (119): "Rinuccini and the Power of Music"; and Hanning: "Glorious Apollo: Poetic and Political Themes in the First Opera," Renaissance Quarterly 32 (1979), 485-513. 11 Detlef Heikamp, "Il Teatro Mediceo degli Uffizi," Bolle tina del Centro lnternazionale di architettura Andrea Palladia !6 (1974), 323-32; Nino Pin·otta and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi (Cambridge: Cambridge University Press, 1982; Italian orig., Turin, 1969, rev. 1975), 365-83. 12 The phrase is Richard Taruskin's; see his Oxford History of Western Music, 6 vols. (New York: Oxford University Press, 2005). 13 The pythic creature is described as greenish-black and covered with sparkling minors. It "was constructed in separate units of papier-mache modeled over clay forms and assembled on a wooden framework," and it was operated by a stagehand from inside (Saslow, 231-32). 14 Rinuccini's phrase ("si nobil maniera di recitare"), from the dedication (to Maria de' Medici) of his libretto L 'Euridice (Florence, 1600); Italian text and translation in Carter, Composing Opera, 16-17. 15 Le musiche di Jacopo Peri sopra L 'Euridice (Florence, 1600 [but 1601, modern style]), facs. Rome, 1934 and Bologna, 1969; performing edition, ed. Howard Mayer Brown (Madison, WI: A-R Editions, 1981 ). 16 Tomlinson, "Renaissance Humanism," 18. 17 On Jacopo Corsi see Tim Carter, "Music and Patronage in Late Sixteenth-Century Florence: The Case ofJacopo Corsi (1561-1602)," iniTatti Studies: Essays in the Renaissance I (1985), 57-104, 24 �repr. in Carter, Music, Patronage and Printing in Late Renaissance Florence (Variorum Collected Studies Series), (Aldershot and Burlington, VT: Ashgate, 2000). 18 William V. Porter, "Peri and Corsi's Dajne: Some New Discoveries and Observations," Journal of the American Musicological Society 18 (1965), 170-96. 19 Claude V. Palisca, "The Alterati of Florence, Pioneers in the Theory ofDramatic Music," in William W. Austin, ed., New Looks at Italian Opera: Essays in Honor of Donald J Grout (Ithaca, NY: Cornell University Press, 1968), 9-38; repr. in Palisca, Studies in the History of Italian Music and Music Theory (New York: Oxford University Press, 1994), 408-31. 2 ° Claude V. Palisca, The Florentine Camerata: Documentary Studies and Translations (New Haven: Yale University Press, 1989); esp.l-11. 21 Mei's correspondence to the Camerata is published in Claude V. Palisca, Girolamo Mei (15191594): Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi: A Study with Annotated Text (Musicological Studies and Documents, American Institute of Musicology, 1960, 2/1977). 22 Claude V. Palisca, "Vincenzo Galilei's Arrangements for Voice and Lute", in Essays in Musicology in Honor of Dragan Plamenac on His 701h Birthday, eds. Gustav Reese and Robert .T. Snow (Pittsburgh: University of Pittsburgh Press, 1969), 207-32; repr. in Palisca, Studies ... , 36488. 23 Vincenzo Galilei, Dialogo della musica antica e/ della moderna (Florence, 1581 ); repr. Monuments of Music and Music Literature in Facsimile, second series, no. 20 (New York: Braude Brothers [1967]); English trans. with introduction and notes, by Claude V. Palisca (New Haven: Yale University Press, c.2003). 24 Mei had definitively established that the ancient Greek modes were different from the church modes by being essentially the same arrangement of tones transposed higher or lower on the Greek gamut; thus, depending on their register, some modes were more relaxed, others more intense, much like our modern scales. See his "Letter to Vincenzo Galilei, 8 May 1572," in Palisca, The Florentine Camerata, 66-67. 25 Further on Mei's theories, see Hanning, OfPoetry and Music's Power, 31-41. 26 Translated excerpts from Galilei's Dialogo may be found in Oliver Strunk, ed., Source Readings in Music History, rev. ed. by Leo Treitler (New York and London, 1998), and in Piero Weiss and Richard Taruskin, Music in the Western World: A History in Documents (New York: Schirmer, 1984), 166-68. The passage quoted above is taken from the latter, 167-68. 27 Compare the following passage from Bardi's Discourse on Ancient Music and Good Singing (Sopra Ia musica antica e 'l cantar bene) addressed to Caccini: "Those great philosophers and connoisseurs of nature understood well that in the low voice is slowness and sonmolence, in the 25 �medium quiet, majesty, and magnificence, and in the high shrillness and lament. Now who does not know that the drunken and the somnolent usually speak in a low tone and slowly, and that men of great affairs converse in a medium voice, quiet and magnificent; ... that in the rhythms are the portraits of anger, mildness, strength, temperance, and of every other moral virtue, as well as of all those qualities which are their contraries, ... " (quoted and translated in Hanning, Of Poetry and Music's Power, 37-38). The entire discourse is printed and translated in Palisca, The Florentine Camerata, 90-131. Further on Caccini' s relations with Bardi, see Claude V. Palisca, "The Camerata fiorentina: A Reappraisal," Studi musicali I (1972), 203-36. 28 Pirrotta, "Orpheus, Singer of strambotti," in Music and Theatre, 3-36. 29 See D.P Walker, "Ficino's Spiritus and Music," Annates musicologiques I (1953), 131-50. For a more extensive treatment of these ideas, see Gary Tomlinson, Music in Renaissance Magic: Toward a Historiography of Others (Chicago: University of Chicago Press, 1993), esp. I 01-44. °Ficino wrote: "Remember that song is the most powerful imitator of all things. 3 For it imitates the intentions and affections of the soul ... "; quoted and trans. by Walker from the third book ofFicina's De triplici vita in "Ficino's Spritus and Music," 139. 31 On the precise role of music in Poliziano's Oifeo, see Pirrotta, "Orpheus," 19-36. 32 Hanning, Of Poetry and Music's Power, 27. 33 Giulio Caccini, Le nuove musiche (Florence, 1601 [1602, modern style]), facs. Rome, 1934; critical and performing edition, edited with a translation ofCaccini's important Preface by H. Wiley Hitchcock in Recent Researches in the Music of the Baroque Era, vol. 9 (Madison, WI: A-R Editions, 1970). 34 Tomlinson, "Pastoral and Musical Magic," 17. Tomlinson also argues that "early opera was not a specific version of pastoral drama"; rather, both genres "arose from a culture whose world still offered magical realms' and grew out of 'the esotericism that burgeoned in Renaissance thought in the wake of the fifteenth-century revival ofNeoplatonism" (Joe. cit.). 35 Quoted in Christopher Braider, Refiguring the Real: Picture and Modernity in Word and Image, 1400-1700 (Princeton: Princeton University Press, 1993), 156. 36 Leon Battista Alberti, Dells Pittura [On Painting], trans. John R. Spencer (New Haven and London: Yale University Press, 1966/R\971); see especially 72-76. 37 Rudolf Arnheim, Art and Visual Perception: A Psychology of the Creative Eye, the New Version (Berkeley: Univsity of California Press, 1974/R 2004), 295ff. 38 George R. Kernodle, From Art to Theater: Form and Convention in the Renaissance (Chicago and London: University of Chicago Press, 1944), 216. 26 �HOW OPERA BE6AN Agostino Carracci, Orpheus and Euridice 1594-97 HOW OPHRA BH6AN AND WHY OPHRA BH6AN Florence -why THERE? ca.1600 - why THEN? �Marco da GAGLIANO 1608: Wrote Preface describing opera's origins 3 1597/98: Favola by Ottavio RINUCCINI (conrt poet) Music begun by Jacopo CORSI ("learned amateur") Completed by Jacopo PERI ("skilled composer and singer") 1608: Marco da GAGLIANO Expanded original libretto Composed new music Wrote Preface describing opera's origins 4 �1597198: Rinuccini I Peri I Corsi La Dafne 1608: Gagliano I Rinuccini La Dafne 5 1597198: Rinuccini I Peri I Corsi La Dafne 1600 Marriage of Marie de' Medici Oct. 4 Rinuccini, L 'Euridice libretto printed (Preface) Oct. 6 Peri I Caccini, L 'Euridice first performed 1608: Gagliano I Rinuccini LaDafne 6 �1597198: Rinuccini I Peri I Corsi La Dafne 1600 Feb. Cavalieri's La Rappresentatione di anima et di corpo in Rome Oct. 4 Rinuccini, L 'Euridice libretto printed Oct. 6 Peri I Caccini L 'Euridice first performed Oct. 6? Cavalieri's Rappresentatione score published 1608: Gagliano I Rinuccini, La Dafoe 1597198: Rinuccini I Peri I Corsi La Dafne 7 1600 Feb. Cavalieri's La Rappresentatione di anima et di corpo in Rome Oct. 4 Rinuccini, L 'Euridice libretto printed Oct. 6 Peri I Caccini L 'Euridice first performed Oct. 6? Cavalieri's Rappresentatione score published Oct. 9 1608: Caccini, II rapimento di Cefalo performed Gagliano I Rinuccini, LaDafne 8 �1597198: Rinuccini I Peri I Corsi 1600 Feb. Oct. 4 Oct. 6 Oct. 6? Oct. 9 Rinuccini, L "Euridice libretto printed Peri I Caccini L 'Euridice first performed Cavalieri's Rappresentatione score published Caccini, II rapimento di Cefalo performed La Dafne Cavalieri's La Rappresentatione di anima et di corpo in Rome 1601 Jan. Caccini L 'Euridice score published Feb. Peri L 'Euridice score published 1608: Gagliano I Rinuccini, LaDafne 1597198: Rinuccini I Peri I Corsi La Dafne 9 1600 Feb. Cavalieri's La Rappresentatione di anima et di corpo in Rome Oct. 4 Oct. 6 Oct. 6? Oct. 9 Rinuccini, L 'Euridice libretto printed Peri I Caccini L 'Euridice first performed Cavalieri's Rappresentatione score published Caccini, II rapimento di Cefalo performed 1601 Jan. Caccini L 'Euridice score published Feb. Peri L 'Euridice score published 1602 Feb. Caccini, Le nuove musiche Dec. 5 Caccini, L 'Euridice first performed 1608: Gagliano I Rinuccini, LaDafne 10 �1597/98: Rinuccini I Peri I Corsi La Dafne 1600 Feb. Cavalieri's La Rappresentatione di anima et di corpo in Rome Oct. 4 Oct. 6 Oct. 6? Oct. 9 1601 Jan. Feb. 1602 Feb. Dec. 5 Rinuccini, L 'Euridice libretto printed Peri/ Caccini L 'Euridice first performed Cavalieri's Rappresentatione score published Caccini, 11 rapimento di Cefalo performed Caccini L 'Euridice score published Peri L 'Euridice score published Caccini, Le nuove musiche Caccini, L 'Euridice first performed 1607 Monteverdi I Striggio, Lafavola d'Orfeo 1608: Gagliano I Rinuccini, LaDafne 11 1597/98: Rinuccini/ Peri/ Corsi LaDafne 1600 Feb. Cavalieri's La Rappresentatione di anima et di corpo in Rome Oct. 4 Oct. 6 Oct. 6? Oct. 9 1601 Jan. Feb. 1602 Feb. Dec. 5 1607 Rinuccini, L 'Euridice libretto printed Peri/ Caccini L 'Euridice first performed Cavalieri's Rappresentatione score published Caccini, II rapimento di Cefalo performed Caccini L 'Euridice score published Peri L 'Euridice score published Caccini, Le nuove musiche Caccini, L 'Euridice first performed Monteverdi/ Striggio, L '01jeo 1608 1608: Monteverdi/ Rinuccini, L'Arianna LaDafne Gagliano I Rinuccini, 12 �Lasciatemi morire, Let me die, lasciatemi morire; e che volete voi che mi conforte in cosi dura sorte, in cosi gran martire? Let me die! And who do you think could console me in so dreadful a fate, in such great torment? Lasciatemi morire, Lasciatemi morire. Let me die! Let me die! 13 WHY FLORENCE? 14 �WHY f'LORENC£? 1. Long tradition of musical theater - INTERMED I 15 �WHY f'LOR£NC£? 1. Long tradition of musical theater- INTERMEDI 2. Network of academies- CIVIC HUMANISM Bardi's Camerata 0 Alterati Academy Medici court Corsi's circle 0 17 �1589 INT£RSM£DI The Team: Giovanni de' Bardi, artistic director Ottavio Rinuccini, poet Emilio de' Cavalieri, musical director Bernardo Buontalenti, costume and stage design Music by Cristofano Malvezzi and Luca Marenzio, with contributions from Jacopo Peri, Giulio Caccini, and Giovanni de' Bardi 20 �1lNT£RM£DI '1 (1: 1lNT£RM£DI �INT£RM£DI INT£RM£DI 24 �IlNT£RM£DI IlNT£RM£DI 26 �IlNJTERSMEDI 27 , __ : _.,_.-_-_, :·: _""--' _: __ --,,-_ ':~::_-:::~ ~c:: c:·:____ ---~----=-=-=-":~-':~':_.:'_:O..:_~===-=:=o_ ----- 0o __ ~co_ ~c_,__ ,,,- ,-.~'- ''- -=--~--=====--=--== -~~-~-··__'_,_·--~~~_:_~~ -- .. _c_, _________________ -'----------- --· -~---------~------- -~---- =---'--- __ __:__::-c,.::c:.:.::.::·:c•·· - -- _---------------------_ _ _ _ _ _ ,_____c.:_ _______ :_ _ _:c:.:..:c --------------------------- __ ]:_•·---·-------'-------·----'----'-'-=--'--' ---- - - - . ----------------------- =· ~:--=Nernrol'K"~:£ac:auemie-'S::=~-c~me~J.rMWN1BME~~ -,-_----------------------------------c··c-:,o,'-----'---'--·----,---------';-'----:o':_c· - - - - - - - - - - - - - - - - - - - - - - - - - - - ----------------------------------- - - - - - - -~'-'--'--'-'------'----"-----'----'-----~--,-,------,---- -.---;----..-,-------·-· ---"--'----'------'--'--·--'----------"'' "'-"-------=--'-----------'-------- -·-~-.·------'----'-~--~--~-c ·----------------~--- -----~----"--------- --------- - --,----,---------,-,----,----,---,------.. -.. -- ----,--------~---,- ----------------------------- -c--·- - " -·--'-----'---·-- -----'-- ---~------;-------.--,-,--------,--, -,------"--------.-. -"c-= ... - .. ---,----------~-------.-- ----c=-~-- �HUMANISM Gary Tomlinson, "Renaissance Humanism and Music," European Music, 1520-1640 1. Philological humanism Girolamo Mei 2. Rhetorical humanism Vincenzo Galilei 3. Ordinary-language humanism Rinuccini, Corsi, and Peri29 HUMANISM Alterati (Academy of the Altered Ones) Giovanni de' Bardi Girolamo Mei Ottavio Rinnccini Jacopo Corsi "Pioneers in the theory of dramatic music" 3o �HUMANISM Camerata Giovanni de' Bardi Girolamo Mei Vincenzo Galilei Giulio Caccini 31 HUMANISM Camerata Vincenzo Galilei Giulio Caccini 32 �ViNCENZO 6ALII.m, DIALOGO D£l.J..A MUSICA ANTICA E D£l.J..A MODERNA, t5e 1 Do away with vocal counterpoint. Adopt monody (melody with simple accompaniment). Imitate nature (by following the patterns of speech) 33 ViNCENZO 6ALII.m, DIALOGO D£l.J..A MUSICA ANTICA E D£l.J..A MODERNA, 1581 "Kindly observe in what manner the actors speak, in what range, high or low, how loudly or how softly, how rapidly or slowly they enunciate their words ... how one speaks when infuriated or excited; how a married woman speaks, how a girl, how a lover ... how one speaks when lamenting, when crying out, when afraid, and when exulting with joy." 34 �WH1f FLORENCE? I. Long tradition of musical theater -INTERMEDI 2. Network of academies- CIVIC HUMANISM 3. Particular Renaissance worldviewMUSICAL MAGIC 35 MUSICAL MA6IC Angelo Poliziano, Orfeo (1480) 36 �MUSICAL MAGIC Neoplatonism Lorenzo de' Medici (The ~nu.5.u.u• Marsilio Ficino (1433-99) "music-spirit theory" Angelo Poliziano, Orfeo (148 �Titian Bacchus descending to rescue the abandoned Ariadne from her fate 1522-23 �41 HOW OPERA BE6AN AND WJn1 OPERA BE6AN Florence -why THERE.? ca.1600 -why THEN? �Roger de Piles, Abrege de Ia vie des peintres (1699) "One must think of painting as a kind of stage on which each figure plays its role." 43 Filippo Villani, DE ORI6J.NE (1381-2) Images formed by [Giotto's] brush agree so well with the lineaments of nature as to seem to the beholder to live and breathe; and his pictures appear to perform actions and movements so exactly as to seem ([when seen] from a little way off) actually speaking, weeping, rejoicing, and doing other things, not without pleasure from him who beholds and praises the talent and skill of the artist. 44 �Giotto, Lamentation (1303-6), fresco from the Arena Chapel, Pad11a ALBERTI'S COMPOSJTJO from Della pittura, 1435-36 Period /\ Clause + Clause PhrAase Aord Picture Bod~y 1\ 11ember + 11ember Plan/.\ane 46 �Alberti: "In my view, there is no painted narrative so filled with so great a variety of events that nine or ten persons will not be capable of acting them out quite fittingly." ~Della pittura 47 �The Last Supper, ca. 1200 Psalter illumination (Musee Conde, Chantilly) 49 ILeon:ardo da Vinci, The Last Supper, 1495-97 (Milan, Santa Maria delle Gn1zie:)l after restoration, 1997-2001 50 �after restoration, 1997-200 I 52 �Jacopo Tintoretto, The Last Supper, 1592-94 53 (San Giorgio Maggiore, Venice) 54 �55 Michelangelo Merisi da Caravaggio Boy Bitten by a Lizard, c. 1597 (London, National Gallery) �Boy Bitten by a Lizard, detail 58 �Artemesia Genti1eschi Judith Beheading Holofernes, c. 1620 (Uffizi Gallery, Florence) Artemisia Genti1eschi SelfPortrait as La Pittura, c. 1630 �61 Nympha<:um (1583-93), by Bernardo Buontalenti, Florence ��66 �67 George Kernodle, ?W#t ~to 7~ (Chicago: University of Chicago Press, 1944.) "Modem theatre grew out of the desire to see and hear with living actors the romantic stories and allegorical fancies already portrayed by the painters." 68 �Frank Kernodle, ';'UJ#t ,rt.a ta 7/eeattze (Chicago: University of Chicago Press, 1944.) "Early opera grew out of the desire to see and hear with singing actors the romantic stories and allegorical fancies already portrayed by the painters." Baldassarre Peruzzi (!481-1537), stage design 69 ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pdf Page numeration Number of pages in the original item. 64 pages Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource How Opera Began (And Why It Began in Florence) Description An account of the resource Typescript of a lecture delivered on March 25, 2011, by Barbara Hanning as part of the Formal Lecture Series. Creator An entity primarily responsible for making the resource Hanning, Barbara Russano, 1940- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2011-03-25 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: make a recording of my lecture, and retain copies for circulation and archival preservation at the St. John’s College Greenfield Library; make a recording of my lecture available online; make typescript copies of my lecture available for circulation and archival preservation at the St. John’s College Greenfield Library; make a copy of my typescript available online." Type The nature or genre of the resource text Format The file format, physical medium, or dimensions of the resource pdf Subject The topic of the resource Opera. Italy. Florence. History and criticism. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Hanning_Barbara_2011-03-25 Relation A related resource <a href="https://digitalarchives.sjc.edu/items/show/30" title="Audio recording">Audio recording</a> Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/92f23fbb8951c040a382e22703fe1df2.mp3 60ad9da6a64821fad37eac0d623acb3e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:01:29 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource What it Means to be Human: The Case for the Body in Public Bioethics Description An account of the resource Audio recording of a lecture given by O. Carter Snead on October 7, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "The natural limits of the human body make us vulnerable and dependent on others. Yet law and policy concerning biomedical research and the practice of medicine frequently disregard these stubborn facts. O. Carter Snead makes the case for a new paradigm and framework for public bioethics, one rooted in a vision of human identity and flourishing that supports those who are profoundly vulnerable and dependent -- children, the disabled and the elderly. He addresses three complex issues: abortion, assisted reproductive technology and end-of-life decisions. Avoiding typical dichotomies of conservative-liberal and secular-religious, he recasts debates within his framework of embodiment and dependence, concluding that if the law is built on premises that reflect our lived experience, it will provide support for the vulnerable." Creator An entity primarily responsible for making the resource Snead, O. Carter Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-10-07 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Bioethics Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_SneadO_What_it_Means_to_be_Human_2022-10-07 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/b001a2f2b7b74611dc13ec6ddbd102b1.mp3 c4c184abddb7d52e4a362a2c4bf177bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:08:26 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Time, Eternity, and the ‘Tyranny of History’ in Islamic Philosophy Description An account of the resource Audio recording of a lecture given by Saiyad Nizamuddin Ahmad on September 28, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "An examination of the problem of time and eternity in the context of the doctrine of creatio ex nihilo (creation out of nothing) and the problems and paradoxes raised by this in Islamic philosophy. This is a long-standing debate not only in Islam but in other religious traditions which cultivated philosophy as well, especially the Christian and the Jewish traditions. The classic example of this debate in Islam is the famous exchange between Ibn Rushd (d. 595 H/1198 CE) and al-Ghazālī (d. 505 H/1111 CE). The latter is well-known to Western students of philosophy, but developments since that time remain virtually unknown to the Western world. We will take the exchange between Ibn Rushd and al-Ghazālī as our point of departure and examine the roots of the question before Islam as well as examine its development after Ibn Rushd and al-Ghazālī in the profoundly original doctrine of “non-temporal origination” formulated by Mīr Dāmād. The question also continues among Muslim scholars in modern times and a few examples will be offered." Creator An entity primarily responsible for making the resource Ahmad, Saiyad Nizamuddin, 1966- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-28 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Islamic philosophy Time Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_AhmadS_Time_Eternity_and_the_Tyranny_of_History_2022-09-28 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/255f32f2cbbcd18e70b303bcfa2af4f2.mp3 a583c9322270e239b8b527ff008bc1d8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:51:00 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pascal’s Conception of ‘Universal Men’ Description An account of the resource Audio recording of a lecture given by tutor Richard McCombs on September 23, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Pascal’s almost unrelenting emphasis on the weakness, vanity, misery and sinfulness of humanity can be hard to take. This lecture focuses on what is arguably the most beautiful and widely appealing aspect of his Pensees, namely, his thoughts on universal human beings. The most obvious thing about these people is their intellectual breadth and versatility. There is something better about them than this, however. Pascal says that “no one guesses what they are.” This lecture attempts to divine their hard to guess secret, which lies not in intellectual excellence, but in moral or spiritual excellence that is or should be inspiring both to those of us who share Pascal’s religious views and to those of us who are appalled by the negativity of his Christianity." Creator An entity primarily responsible for making the resource McCombs, Richard A., II, 1967- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-23 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Pascal, Blaise, 1623-1662. Pensées. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_McCombsR_Pascal's_Conception_of_Universal_Men_2022-09-23 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/cb469c0269591b9cd09cff140b8a29c3.mp3 ccfc4aaf6a575f8c0efd551110e7c5b8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:59:23 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource What is Happening With the Supreme Court? Description An account of the resource Audio recording of a lecture given by tutor Martha Franks on September 16, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "The United States Supreme Court has recently rendered several newsworthy, controversial rulings. In Dobbs v. Jackson Women’s Health Organization, for example, the Court overturned an earlier Supreme Court recognition of a Constitutional right to abortion. The sweeping social changes that this decision has caused come about because new members of the Court interpret the Constitution differently than earlier Courts had done. How can so tiny a group of unelected lawyers, by shifting their approach to the interpretation of the text of the Constitution, wield so much power to alter the laws by which the whole nation is governed? (We at St. John’s may be less surprised than others that differing interpretation of texts can lead to radically different opinions about their meanings.) This lecture will discuss the role of the Supreme Court in the Constitution and in American judicial history, as well as considering how the Supreme Court does its work of interpretation." Creator An entity primarily responsible for making the resource Franks, Martha C. Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-16 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource United States. Supreme Court United States. Constitution. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_FranksM_What_Is_Happening_With_the_Supreme_Court_2022-09-16 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/b8d786333e983f58333efdeff8582d49.mp3 40e1e93149b81a12337c341f36b99653 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:09:12 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tutor Panel on “Freshman Laboratory and the Laboratory’s Place in the Liberal Arts" Description An account of the resource Audio recording of a tutor panel given by Judith Adam, Seth Appelbaum, Grant Franks, Eric Poppele and Ahmed Siddiqi on September 9, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Because it attempts to engage directly with the natural world and the question of Nature, Freshman Laboratory is possibly the most radical of beginnings that we make in our studies at St. John’s. Tutors will discuss some of the first themes of Freshman Laboratory and its challenging readings (looking, classification, causes), how these themes help us to approach and come to know the natural world, and how such beginnings might relate to our extended study of Science throughout the laboratory program at St. John’s." Creator An entity primarily responsible for making the resource Adam, Judith Appelbaum, Seth Franks, Grant H. Poppele, Eric Hunter Siddiqi, Ahmed Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-09 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Freshman Laboratory The St. John's Program Liberal Arts Education Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_AdamJ_et_al_Tutor_Panel_on_Freshman_Laboratory_2022-09-09 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/8f44de8802fd69520df5b807d7d2d0e4.mp3 c19c68d129adb59fa61ed9186a8a5ead Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:02:50 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tutor Panel "On Reading Homer" Description An account of the resource Audio recording of a tutor panel given by tutors Chris Cohoon, Claudia Hauer, David McDonald and Sarah Stickney on September 2, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Homer’s Iliad and Odyssey stand at the beginning of the St. John’s Program as foundational accounts of the deepest human questions: loss, death, war, love, beauty, family, politics, and the divine. For millennia, Homer’s poems have been guides into these questions as they arise in the shared or solitary plight of lived experience. In this panel, four tutors will explore ways of reading Homer and of entering the world his poetry unfolds." Creator An entity primarily responsible for making the resource Cohoon, Christopher Hauer, Claudia McDonald, David Stickney, Sarah Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-02 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Homer. Iliad. Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_CohoonC_et_al_Tutor_Panel_on_Reading_Homer_2022-09-02 Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/9b093a7583136bdd76319d18a073d91e.mp3 61b1de35add0f4a809aa04152c184c62 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. John's College Lecture Recordings—Santa Fe Contributor An entity responsible for making contributions to the resource St. John's College Meem Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data m4a Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:49:52 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource “Freedom of the Intellect is a Sacred Thing”: A Brief Exploration of Freedom, Liberal Education, and the St. John’s Program. Description An account of the resource Audio recording of a lecture given by Dean J. Walter Sterling on August 26, 2022 as part of the Dean's Lecture & Concert Series. The Dean's Office has provided this description of the event: "Mr. Sterling will explore the contested idea of freedom that underlies any authentic liberal education, including the St. John’s Program of Instruction. He will argue that the difficulty of specifying the end of such an education reinforces, rather than undermines, the necessity of undertaking with courage the attempt to free one’s mind. He will briefly discuss the role of books in such an attempt." Creator An entity primarily responsible for making the resource Sterling, J. Walter Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Santa Fe, NM Date A point or period of time associated with an event in the lifecycle of the resource 2022-08-26 Rights Information about rights held in and over the resource Meem Library has been given permission to make this item available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Freedom Liberal Arts Education St. John's Program Language A language of the resource English Identifier An unambiguous reference to the resource within a given context SF_SterlingW_Freedom_of_the_Intellect_is_a_Sacred_Thing_2022-08-26 Deans Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/a5a902579fa049466a7a84dc7bca7452.mp3 0309ed0d979e41620c6c41738efeb698 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data audiocassette Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:09:43 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Politics According to Tolstoy and Dostoyevsky (with Emphasis on The Brothers Karamazov) Description An account of the resource Audio recording of a lecture delivered on March 31, 2000, by Donna Orwin as part of the Formal Lecture Series. Note: the audio cuts out briefly at 00:45:47. Creator An entity primarily responsible for making the resource Orwin, Donna Tussing, 1947- Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2000-03-31 Rights Information about rights held in and over the resource Permission has been given to make this available online. Type The nature or genre of the resource sound Format The file format, physical medium, or dimensions of the resource mp3 Subject The topic of the resource Tolstoy, Leo, graf, 1828-1910--Political and social views Dostoyevsky, Fyodor, 1821-1881--Political and social views Political science--Philosophy Dostoyevsky, Fyodor, 1821-1881. Bratʹi︠a︡ Karamazovy Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Orwin_Donna_2000-03-31_ac Friday night lecture https://s3.us-east-1.amazonaws.com/sjcdigitalarchives/original/d34aed13624e9834bdf439cb45e0126d.mp4 9922934162c7493bde007b90830be93b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Items in this collection are part of a series of lectures given every year at St. John's College. During the Fall and Spring semesters, lectures are given on Friday nights. Items include audio and video recordings and typescripts.<br /><br />For more information, and a schedule of upcoming lectures, please visit the <strong><a href="http://www.sjc.edu/programs-and-events/annapolis/formal-lecture-series/" target="_blank" rel="noreferrer noopener">St. John's College website</a></strong>.  <br /><br />Click on <strong><a title="Formal Lecture Series" href="https://digitalarchives.sjc.edu/items/browse?collection=5&amp;sort_field=Dublin+Core%2CDate&amp;sort_dir=d">Items in the St. John's College Formal Lecture Series—Annapolis Collection</a></strong> to view and sort all items in the collection.<br /><br />A growing number of lecture recordings are also available on the St. John's College (Annapolis) Lectures podcast. Visit <a href="https://podcasts.apple.com/us/podcast/st-johns-college-annapolis-lectures/id1695157772">Apple Podcasts</a> or <a href="https://open.spotify.com/show/6GDsIRqC8SWZ28AY72BsYM?si=f2ecfa9e247a456f" title="Spotify">Spotify</a> to listen and subscribe. Contributor An entity responsible for making contributions to the resource St. John's College Greenfield Library Title A name given to the resource St. John's College Formal Lecture Series—Annapolis Identifier An unambiguous reference to the resource within a given context formallectureseriesannapolis Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data mp4 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:17:48 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reading Genesis Chapter Three Description An account of the resource Video recording of a lecture delivered on September 2, 2022, by William Braithwaite as part of the Formal Lecture Series. Mr. Braithwaite offers this description: "The Garden of Eden story, about Adam and Eve, what they did and how they were punished for it, is the authoritative source for the Christian doctrine of original sin. Before St. Augustine and St. Paul appropriated it for this purpose, however, the story belonged to the Hebrew Scriptures of the ancient Israelites, and Judaism has no dogma of original sin. But even before ancient rabbis put the story in writing many centuries ago, it may, some scholars suggest, have circulated orally. If we try to imagine who first told the story, and to whom, and with what end in mind, what would we take it to be about, and what truth might we find in it? What does the story say to those who are not Christians or Jews, whether of another faith, or even atheist or agnostic? Seeking reliable speculations on such questions is the work behind this lecture." Creator An entity primarily responsible for making the resource Braithwaite, William T. (William Thomas) Publisher An entity responsible for making the resource available St. John's College Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Annapolis, MD Date A point or period of time associated with an event in the lifecycle of the resource 2022-09-02 Rights Information about rights held in and over the resource A signed permission form has been received stating: "I hereby grant St. John's College permission to: make a recording of my lecture, and retain copies for circulation and archival preservation at the St. John’s College Greenfield Library; make a recording of my lecture available online; make typescript copies of my lecture available for circulation and archival preservation at the St. John’s College Greenfield Library; make a copy of my typescript available online." Type The nature or genre of the resource moving image Format The file format, physical medium, or dimensions of the resource mp4 Subject The topic of the resource Bible. Genesis Eve (Biblical figure) David, King of Israel Parables Solomon, King of Israel Language A language of the resource English Identifier An unambiguous reference to the resource within a given context LEC_Braithwaite_William_2022-09-02_ac Friday night lecture Tutors