Del cancionero de corte al cancionero burgués: el caso de Nápoles, Milán y Venecia
Cancionero poetry, even though practiced in different and specific ways in Aragonese Naples, largely fails to stir the publishers and printers interest in Spanish Milan and in Venice. This lack of attention is especially evident in Venice, Europe’s printing capital in the 16th century. The present a...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2014 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | español |
| OAI Identifier: | oai:ebuah.uah.es:10017/24285 |
| Acceso en línea: | http://hdl.handle.net/10017/24285 |
| Access Level: | acceso abierto |
| Palabra clave: | Poesía de cancionero Impresores Corte aragonesa en Nápoles Milanesado Venecia Cancionero poetry Printers Aragonese Naples Spanish Milan Venice Filología Literatura Philology Literature |
| Sumario: | Cancionero poetry, even though practiced in different and specific ways in Aragonese Naples, largely fails to stir the publishers and printers interest in Spanish Milan and in Venice. This lack of attention is especially evident in Venice, Europe’s printing capital in the 16th century. The present article aims to investigate the reasons behind such lack of interest. The only relevant exception is represented by Spanish musical songbooks, circulating both in manuscript and print. A little known example is Francesco Palumbi’s La Chitarra, in ms. 1434 of Biblioteca Civica di Verona, which includes a relevant section of Spanish musical scores. |
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