HON 2020 Timeline Renaissance to Enlightenment
Created by Bettina Pedersen on Tue, 01/04/2022 - 16:56
Part of Group:
This is our timeline that we will build individually and collaboratively over this semester. It will span nearly four centuries from the Renaissaince to the Enlightenment and will highlight some key events and people across those eras. Our timeline content will include information from history, music, art, and literature-content covered in HON 2020.
The first entries you will see on the timeline are ones that your professors have done for you to give you some good examples of what we are expecting your timeline entries to look like.
As we build our timeline, you all will be able to see each other's work throughout the semester's work, and you will be able to make ongoing revisions to your entries to improve them. Our timeline will visually depict some of the connections between the political thinkers, writers, musicians, and artists we will study in HON 2020.
You will also have a COVE Timeline assignment in Canvas, which will contain all the information about what is required for your entries and when they are due.
Timeline
Chronological table
| Date | Event | Created by | Associated Places | |
|---|---|---|---|---|
| 1179 |
Hildegard (Gregorian Chant)
Hildegard von Bingen was a remarkably well-known woman intellectual, mystic, scholar, administrator, political advisor and composer in the 12th century. In an age when few people who were not nobles or high-ranking clergy were known let alone written about, that we know this woman's name today is unusual—that she was able to accomplish so much in so many fields that we can verify over eight centuries later is astounding. Hildegard studied and wrote poetry, visions, and in several fields of medicine, science, and the study of the saints. Three hundred years ahead of her time, this medieval woman set the standard for what came to be called the "renaissance man.” Born into a noble German family who committed her to the church, she entered a monastery at the age of 14. Originally instructed by her older cellmate Jutta and the monk-priest Volmar, Hildegard eventually took over her convent when Jutta died, eventually moving it to an independent location and financial status. She undertook four preaching tours of Germany which furthered her reputation to the point that she carried on lengthy correspondences with popes, emperors, and other church and political leaders. Hildegard experienced visions from early in her childhood. Later, she was permitted to write them down, with the assistance of Volmar. Many of these texts became the sources for over 70 pieces of liturgical music which consisted of monophonic chant-like melodies. She also wrote the first morality play, Ordo virtutum, which included 82 different melodies. Both her texts and her music are highly vivid, imaginative and original. While there is no evidence that Hildegard herself learned to write music notation, the melodies themselves are thought to be her compositions. Their chant-like quality makes Hildegard’s music a wonderful example of medieval church music at its finest. Ian D. Bent/rev. Marianne Pfau. “Hildegard of Bingen.” Grove Music Online. Oxford Music Online, https://www-oxfordmusiconline-com.pointloma.idm.oclc.org/search?q=hildegard+von+bingen&searchBtn=Search&isQuickSearch=true John Milsom. “Hildegard of Bingen.” Oxford Companion to Music. Oxford Music Online, https://www-oxfordreference-com.pointloma.idm.oclc.org/view/10.1093/acre... |
Keith Pedersen | ||
| circa. 1450 to circa. The end of the month Summer 1521 |
Josquin des Prez; Ave Maria (1450) Portrait of Josquin des Prez Josquin des Prez, also named Josquin Lebloitte, is known as one of the greatest composers of the Renaissance. He was born around 1450 and while the specific location is speculated, he is said to be born in Condé-sur-l’Escaut; near the border of Belgium and France. Much is not known about the beginning of his life, but he was a choirboy for various counts and is known for singing for the Duke René of Anjou in 1477 in Provence. Josquin later returned to Condé, France in 1483 to inherit the estate of his aunt and uncle. Throughout his life, Josquin traveled to different cities in Italy because he was hired to sing by various courts. Josquin is recognized for composing motets, chansons, and masses. Of his most famous motets is Ave Maria - virgo serena, published c. 1484. For this motet, Josquin uses a combination of imitative polyphony and homophony. He composed Ave Maria while serving in a Milanese court. In 1489, Josquin was a part of the papal choir in Rome and it was during this time that he was influenced by Italian secular music and this determined some of his later work. Josquin also composed some of his greatest pieces, such as, Miserere and Hercules Dux Ferrariae while he resided in Ferrara, Italy in 1503. He spent the last years of his life as the provost of a collegiate church in Notre Dame and he was eventually buried there in 1521. Ultimately, Josquin’s polyphonic compositions had a long-lasting impact on music during the Renaissance and his music continues to be made known today.
“Josquin Des Prez.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/biography/Josquin-des-Prez.
Sadie, Stanley, and John Tyrrell. The New Grove Dictionary of Music and Musicians. 2nd ed., Grove, 2001.
“Search Media.” Wikimedia Commons, commons.wikimedia.org/w/index.php?search=Josquin%2Bdes%2BPrez&title=Special%3AMediaSearch&type=image. |
Cambria Jacobs | ||
| 6 Mar 1475 to 18 Feb 1564 |
Michelangelo Michelangelo Michelangelo Buonarroti was an Italian High Renaissance artist and architect who is most famous for his marble sculptures, fresco paintings, and sonnets. He was born the second of five sons in Caprese, Italy on March 6, 1475. Although it is believed his father opposed it, as he belonged to the minor nobility in Florence, Michaelangelo became Domenico Ghirlandaio’s apprentice at thirteen (Florence’s most prominent painter) despite it being somewhat of a social downgrade. Having “nothing more to learn”, Lorenzo de Medici, the ruler of the city, became Michelangelo's patron and surrounded him with his ancient Roman statuary art collection and prominent poets, scholars, and humanists. In 1501 he was commissioned to sculpt David for the Florence cathedral. Using a forty-year-old reused block and modeling it in the classical Roman model, Michelangelo perfectly presented the idealized human form of the Renaissance. Working alongside Leonardo da Vinci, he painted a fresco for the Sala del Gran Consiglio for the Florence city hall. Besides his paintings and sculpture, he received permission from the Catholic Church to study cadavers for anatomy and dedicated his more than 300 poets and sonnets to a widow named Vittoria Colonna (although Michaelangelo never got married himself). He was the most documented artist of the time and was the first Western artist to have a biography (three in fact) of him published while he was still alive. Among his most famous works are David, Pieta, Moses, Madonna, Child with the Infant St. John, and Crucifixion of St. Peter. The fresco paintings in the Sistine Chapel in the Vatican which he painted between 1508 and 1512, included scenes from the Old Testament featuring “complex, twisting poses and its exuberant use of colour, is the chief source of the Mannerist style.” He remained the head architect of St. Peters cathedral until his death in 1564. (304)
“Michelangelo.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Michelangelo. The National Gallery, London. “Michelangelo.” Michelangelo (1475 - 1564) | National Gallery, London, https://www.nationalgallery.org.uk/artists/michelangelo. “Michelangelo.” Biography.com, A&E Networks Television, 4 Mar. 2020, https://www.biography.com/artist/michelangelo. |
Valentina Montes | ||
| circa. 1525 to circa. The start of the month Winter 1594 |
Giovanni Pierluigi da Palestrina (c. 1525–1594) & "Agnus Dei," Missa Papae Marcelli (1567)Giovanni Pierluigi da Palestrina (c. 1525–1594) was an influential Italian composer and madrigalist who lived during the Renaissance, born to Santo (Sante) and Palma Pierluigi in either Palestrina or Rome. Palestrina appears to have first begun his education in music at the Basilica of Santa Maria Maggiore in Rome, where he likely would have studied under Robin Mallapert, an unidentified man known as ‘Robert,’ and Firmin Lebel, three musical instructors who are believed to have taught at the basilica at the time. Documentation from 1544 suggests that Palestrina first played as an organist at the cathedral of San Agapito in Palestrina. On June 12th, 1547, Palestrina married Lucrezia Gori and later had three children: Rodolfo (c. 1549–1572), Angelo (1551–1575), and Iginio (1558–1610). He soon gained the attention of Pope Julius III after publishing his first book of masses, Missarum liber primus (1554), which he dedicated specifically to the pope. Furthermore, in the same year that he published his book, Palestrina published his first madrigal, Con dolce, Altiero ed amoroso cenno, which earned recognition in a Venetian anthology. In 1555, Pope Julius III admitted Palestrina into the Cappella Sistina despite his marital status, which ought to have prohibited his admission under typical circumstances. A notable piece that Palestrina later composed in what is estimated to have been 1562 was “Agnus Dei (i and ii),” the sixth and final composition of the Missa Papae Marcelli (Pope Marcellus Mass). The mass was dedicated to Pope Marcellus II, who reigned for nearly three weeks before his unexpected death. “Agnus Dei” in particular, meaning ‘lamb of God,’ contains beautiful examples of harmony and rhythm. Something that distinguishes his piece from many others of the Renaissance is his intentional use of block chords and clear, comprehensible language. (291 words)
This image was created by Sailko. Sources: “Missa Papae Marcelli.” Wikipedia, Wikimedia Foundation, https://en.wikipedia.org/wiki/Missa_Papae_Marcelli. "Missa Papae Marcelli - VI. Agnus Dei." Wikipedia, Wikimedia Foundation, https://en.wikipedia.org/wiki/File:Missa_Papae_Marcelli_-_VI._Agnus_Dei..... Lockwood, Lewis, et al. “Palestrina [Prenestino, Etc.], Giovanni Pierluigi Da [‘Giannetto’].” 2nd ed. Oxford Music Online, https://www-oxfordmusiconline-com.pointloma.idm.oclc.org/grovemusic/view.... Accessed 23 Jan. 2022. Marvin, Clara. ProQuest, https://ebookcentral-proquest-com.pointloma.idm.oclc.org/lib/pointloma-e..., Accessed 23 Jan. 2022. Sailko. "Raffaello Romanelli, Giovanni Pierluigi da Palestrina.jpg." Category:Giovanni Pierluigi da Palestrina, Wikimedia Commons, 9 Oct. 2021, https://commons.wikimedia.org/wiki/File:Raffaello_Romanelli,_Giovanni_Pi.... Accessed 23 Jan. 2022. |
Luke Spencer | ||
| 1561 to 1621 |
Mary Sidney Herbert and the Sidney Psalms Mary Sidney Herbert hosted the “Wilton Circle,” the most influential group of 16th century English poets, at Wilton House as a patron. Now, a statue of Shakespeare stands in the North Hall to recognize Herbert’s role as one of his patrons. Mary Sidney Herbert was an Early Modern Elizabethan English poet, translator, and literary patron. Born into an aristocratic family, she enjoyed a high-class education in French, Italian, Latin, classics, and other subjects like singing, lute-playing, and needlework. In 1577 her arranged marriage to Henry Herbert at fifteen years old made her the Countess of Pembroke. Due to her birth and marriage, she gained “an influence second only to that of Queen Elizabeth” (Mazzola). Her brother, Philip Sidney, died in 1586, and Herbert took it upon herself to enter into court, sponsor other English writers, and begin her own career as a writer and translator. Sidney, himself a writer, left behind unpublished and incomplete works. Herbert published and completed them. Of these, the Sidney Psalms or Sidneyan Psalms are the most well-known. Herbert used a variety of sources to write the Psalms into verses, such as the Book of Common Prayer, the Geneva Bible, other Biblical translations, and some previous English metrical psalms. For the 107 Psalms Herbert translated, she used 128 different verse forms. In addition, she expanded metaphors from the original Hebrew to “comment on contemporary politics, particularly the persecution of… Protestants” (Poetry Foundation). The psalms were completed by 1599, but not published until after Herbert’s lifetime. She published many of her own works, however, and under her own name. During her time, contemporaries considered her a powerful role model, but due to sexist historical revision practices, she has only recently been recognized again as “the most important literary woman of her generation” (Poetry Foundation). (254) Sources: John Martin Robinson. “Wilton House: The Wiltshire Masterpiece of an Earl-Turned-Enthusiastic Amateur Architect.” Country Life, 23 May 2021, https://www.countrylife.co.uk/architecture/wilton-house-the-wiltshire-ma.... Accessed 1 Feb 2022. Poetry Foundation. “Mary Sidney Herbert Countess of Pembroke.” Poetry Foundation, Poetry Foundation, https://www.poetryfoundation.org/poets/mary-sidney-herbert. Accessed 1 Feb 2022. Mazzola, Elizabeth. “Mary Sidney Herbert, Countess of Pembroke.” Obo, https://www.oxfordbibliographies.com/view/document/obo-9780195399301/obo.... Accessed 1 Feb 2022. |
Emilia Gibbs | ||
| circa. 1567 to circa. 1643 |
Claudio Monteverdi and L’Orfeo Claudio Monteverdi worked for Saint Mark's Basilica, or Basilica di San Marco, from 1613 until his death in 1643. This image shows the interior of the Basilica facing east in the western gallery. Claudio Monteverdi was an Italian composer who played a key transitional role between Renaissance and Baroque music and is known for the development of opera. He was baptized in 1567 in Cremona, Northern Italy. Presumably, Monteverdi received musical education, though no records of any teaching remain beyond attributions in his first compositional collection at age 15. When he was 24, he moved to Mantua to work for Duke Vincenzo I Gonzaga of Mantua. Vincenzo held him in high regard, and in 1601, Monteverdi became the highest-ranking musician in Vincenzo’s court. Throughout this time, Monteverdi continued publishing his work, including madrigals, canzonettas, and other musical forms. In 1606, L’Orfeo was commissioned, and the opera gave two performances the following spring. Monteverdi’s L’Orfeo is the oldest surviving work of opera that is still performed today. In other words, it is the “first opera that actually ‘works’” (NPR). It is a retelling of the Greek Orpheus and Eurydice myth, and clear storylines, along with its innovative polyphony use, create the compelling insight into human emotion that made it so successful in its time. However, as Monteverdi was attacked for his progressive use of harmony and musical modes, he toiled on his compositional work, and as his personal life became more stressful, Monteverdi began to seek alternative employment. When Duke Vincenzo died in 1612, Monteverdi was dismissed. He found employment as a maestro at the basilica of San Marco in Venice, where he wrote religious work while still fulfilling secular commission work. After outside problems like war and plague caused uncertainty in Monteverdi’s world, he became a priest in 1632. The first open house in Europe opened in 1637, and after this, Monteverdi contributed three new works to the stage in 1640, 1641, and 1643. In 1643, he died and was buried in Venice. (300) Sources: Arnold, Denis Midgley. “Claudio Monteverdi.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 25 Nov. 2021, https://www.britannica.com/biography/Claudio-Monteverdi. Carter, Tim, and Chew Geoffrey. “Monteverdi [Monteverde], Claudio.” Grove Music Online, Oxford Music Online, 2001, https://www-oxfordmusiconline-com.pointloma.idm.oclc.org/grovemusic/view.... “The Root of All Opera: Monteverdi's 'Orfeo'.” NPR, NPR, 8 Jan. 2010, https://www.npr.org/2010/01/08/122328598/the-root-of-all-opera-monteverd.... |
Emilia Gibbs | ||
| circa. The end of the month Winter 1569 to circa. Spring 1645 |
Amelia Lanyer (1569) and Salve Deus Rex Judaeorum (1611) Dedication of Salve Deus Rex Judaeorum Amelia Lanyer is recognized for her production and publication of feminist poetry in England. She was born on January 27, 1569 to Baptist Bassano and Margaret Johnson in Bishopsgate, London. Because of her involvement in Elizabethan courts, she became romantically involved with Queen Elizabeth’s lord chamberlain, Henry Carey. After a failed relationship, she ended up marrying one of her cousins and had a daughter who sadly only lived 10 months. Amelia Lanyer is also known for producing the first volume of poems published by a woman, Salve Deus Rex Judaeorum in 1611. The poem translates to “Hail, God, King of the Jews’”. It is a collection of poems, each dedicated to different women. In her poems, Amelia defends women rights using a feminine interpretation of the Bible as her foundation. The volume consists of, “To the Doubtful Reader,” “To the Queen’s Most Excellent Majesty,” “To the Virtuous Reader,” “Eve’s Apology in Defense of Women,” and “The Description of Cookham.” In all of her works, she sheds light on the value women carry, something that was foreign during this time. Specifically, in her poem, Eve’s Apology in Defense of Women, Lanyer challenges the claim that Eve was at fault for the first sin. Her satirical approach conveys much of her emotion and ideas about women’s impact on humanity. Unfortunately, because of the lack of popularity, Amelia Lanyer’s work was not widely recognized until later after her death. Though she may not have received much significance during her life, her work continues to inform and inspire modern-day femininsts and poets today. (259) “Æmilia Lanyer.” Poetry Foundation, Poetry Foundation, www.poetryfoundation.org/poets/aemilia-lanyer.
British Library, www.bl.uk/collection-items/emilia-laniers-salve-deus-rex-judaeorum-1611. “Search Media.” Wikimedia Commons, commons.wikimedia.org/w/index.php?search=amelia%2Blanyer&title=Special%3AMediaSearch&go=Go&type=image. Allegra Villarreal, Editor. “Aemilia Lanyar: Salve Deus Rex Judaeorum.” Go to the Cover Page of An Open Companion to Early British Literature, 22 Jan. 2019, earlybritishlit.pressbooks.com/chapter/aemilia-lanyar-salve-deus-rex-judaeorum/. |
Cambria Jacobs | ||
| 1597 |
Rachel Speght (1597–?) & A Mouzell for Melastomus (1617)Rachel Speght (1597–unknown date) was a prominent English poet, polemicist, and feminist who lived during the Renaissance. She was born into a middle class family in London, where she became the first Englishwoman to openly criticize contemporary views on gender, thus revealing her name to the public. Her father, James Speght, was a Calvinist minister in the city, and the content of her writing indicates that she received a thorough education in theology as well as rhetoric and Latin (which was rare among women of her social status at the time). There is little known information about Speght’s mother, whose name does not appear in records, other than the fact that she passed some time between her two publications, A Mouzell for Melastomus (1617) and Mortalities Memorandum with a Dreame Prefixed (1621). At the age of twenty-four, Speght married the Calvinist minister William Procter in London, with whom she proceeded to have two children: Rachel (1627) and William (1630). Rachel Speght published her first work, A Mouzell for Melastomus, at the young age of nineteen. In this piece, she directly responds to Joseph Swetnam’s scathing attack on women, Araignment of Lewde, Idle, Froward, and Unconstant Women (1615), by criticizing his derrogatory views of the female sex. Furthermore, through the use of prose enhanced by rhetoric and scriptural exegesis, she presents a convincing defense that refutes Swetnam’s fervent yet illogical claims about women. She first addresses him by introducing her response, which reads, “Not unto the veriest idiot that ever set pen to paper, but to the cynical baiter of women, or metamorphosed Misoguines, Joseph Swetnam.” Following this introduction is a passionate critique of his blatantly misogynistic piece as well as an organized explanation of why women are undeserving of the blame for the Fall and are inherently equal to men. (300 words)
The photograph above is of Saint Giles, Cripplegate, where Speght's two children were baptized. This image was created by Edwardx. Sources: “Rachel Speght.” Wikipedia, Wikimedia Foundation, https://en.wikipedia.org/wiki/Rachel_Speght. Accessed 11 Feb. 2022. “Speght, Rachel.” Oxford Reference, https://www.oxfordreference.com/view/10.1093/acref/9780195169218.001.000.... Accessed 11 Feb. 2022. Edwardx. “File:St Giles-without-Cripplegate, London 11.JPG.” Wikimedia Commons, Wikimedia Foundation, https://commons.wikimedia.org/wiki/File:St_Giles-without-Cripplegate,_Lo.... Accessed 11 Feb. 2022. Speght, Rachel. “A Mouzell for Melastomus (1617).” Renascence Editions, http://www.luminarium.org/renascence-editions/rachel.html. Accessed 11 Feb. 2022. |
Luke Spencer | ||
| 1612 to 1672 |
Anne Bradstreet "In Memory of My Dear Grandchild (1669)" Anne Bradstreet According to NPR, Anne Bradstreet can be considered "americas first poet". Daughter of a library steward, Anne received an education from her father who exposed her to the greatest minds through allowing her access to a plethora of literary material at a young age. Though she never went to school, the act of reading sparked a passion for writing within Anne. Her first book was published in London in the year 1650. She married Simon Bradstreet and raised eight children. Though she was born in Northampton,England in the year 1612, she died in 1672 in the New World as a member of the Puritan Massachusetts Bay Colony. Her poems document her journey to acceptance of this new form of life, relaying the struggles of adjusting to the harsh and demanding environment as an immigrant to the Americas. Her work also spoke to religious and gender conflicts. However, her earlier work has been considered duller in the minds of some readership who found her imitative and unoriginal. True genius was borne as she grew older and became more vulnerable in her writing, allowing her concerns about immortality, her physical pain, and her deep mourning over her grandchildren weave their way into her poetry. These texts are shorter than her earlier works but much more honest and therefore that much more impactful. Overall, Anne Bradstreet's significance can not be understated. Not only because of her keen craft, but because of the story behind the words. She was a woman writing during a pivotal point in history, openly wrestling with all the tensions that were existent during the 17th century. Sources: “Anne Bradstreet.” Poetry Foundation, Poetry Foundation, https://www.poetryfoundation.org/poets/anne-bradstreet. “Anne Bradstreet.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Anne-Bradstreet.
Simon, Scott. “Anne Bradstreet: America's First Poet.” NPR, NPR, 23 Apr. 2005, https://www.npr.org/templates/story/story.php?storyId=4616663.
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Aliah Fabros | ||
| 1617 |
Arcangela Tarabotti (1559-1652), Convent Sant'Anna, & Paternal Tyranny (1654)Arcangela Tarabotti (1604-1652) was an Early Modern (1559-1814) Italian mystic born to Stefano Tarabotti and Maria Cadena. Her given name was Elena Cassandra and she was one of eleven children, the eldest of six daughters. She was born with a deformity rendering her lame, and her father, determining that her prospects for marriage would be poor, put her in the Sant'Anna convent in Venice in 1617. She took the name Arcangela when she became a nun in 1620, becoming consecrated in 1629 and spending the rest of her life with the Benedictine nuns of Sant'Anna. Since women were not given formal education, Tarabotti's life in the convent gave her opportunity to develop her mind and to use her gifts of anger and writing. She was angry at being forced into a vocation (meaning a life of religious service in her time) for which she had no calling. This practice was called monachization - the forceful placing of a child into a convent or monastery. Tarabotti's most radical work addressing monachization was Paternal Tyranny (Tirannia paterna) and was published posthumously in 1654 under the psedonym Galerana Baratotti. Her rhetoric in this work is a scathing attack of patriarchy. She calls the men, like her father, who entrap people in convents and monasteries, "followers of Lucifer" because they "seek out the most maimed creatures in their own households and consecrate these to the Lord" - in effect offering not the perfect but the imperfect offering of sacrifice to God (Tarabotti 766). Tarabotti expresses fear of eternal damnation in her writings because she was living a vocation to which she was not called. (270 words)
By This Photo was taken by Wolfgang Moroder. Sources: Moroder, Wolfgang. “Chiesa Di Sant Anna Rio Di Sant'Anna Venezia.” Category:Sant'Anna (Venice), Wikimedia Commons, 19 Apr. 2016, https://commons.wikimedia.org/wiki/Category:Sant%27Anna_(Venice)#/media/File:Chiesa_di_Sant_Anna_Rio_di_Sant'Anna_Venezia.jpg. Accessed 8 Jan. 2022. Ray, Meredith Kennedy. “Tarabotti, Arcangela (1604-1652), Venetian Nun and Writer.” Italian Women Writers, University of Chicago Library, 2007, https://www.lib.uchicago.edu/efts/IWW/BIOS/A0048.html. Tarabotti, Archangela. “From Paternal Tyranny.” The Norton Anthology of World Literature, edited by Martin Puchner, Third ed., C, W. W. Norton, New York, NY, 2012, pp. 765–767.
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Bettina Pedersen | ||
| 10 Sep 1659 to 21 Nov 1695 |
Henry Purcell (1659-1695), Dido's Lament: Dido and Aeneas (1689) Henry Purcell was a distinguished English composer and organist of the 17th-century Baroque era. As a boy, Purcell underwent training as a chorister in the Chapel Royal. The earliest sources depict Purcell’s departure from choir to studying with influential musicians John Blow, Christopher Gibbons, and Matthew Locke. Replacing Locke’s position as a composer for the violins (1677), Purcell focused on his devotion to the composition of sacred music and editing anthems by other composers. By the mid-1670s, Purcell became involved with music at Westminster Abbey (London), where he was paid to tune the organ and write a book of organ parts (1676). He would succeed John Blow as the organist of the Abbey and maintain post for the remainder of his life. In 1680, Purcell married Frances Peters and welcomed their first-born son, Henry (July 9-18, 1681). Following his son’s death, Purcell was admitted as a Gentleman of the Chapel Royal on July 14, 1682. The accession of James Ⅱ led to the reorganization of the court musical establishment, which diminished the status of the chapel and Purcell’s position as instrument keeper (1683). During political and professional uncertainty, Purcell expanded the family with his daughter, Frances (1688), and his son, Edward (1689). The coronation of King William and Queen Mary (1689) allowed Purcell to pursue employment and compose the first of his many quintessential odes. During the 1690s, Purcell would compose a series of annual odes for Queen Mary of England and present various works at festivals, schools, and other organizations. Dido’s Lament: Dido and Aeneas (1689) is a theatrically riveting piece modeled after John Blow’s Venus and Adonis, featuring soprano and baritone passages of expressive, mournful dialogue. The dramatic tempo and three distinctive ground bass airs bring richness to the piece while appealing to the heart with rendering tones. (300 words) Holman, Peter. Thompson, Robert. "Purcell, Henry". Grove Music Online, 20 January 2001, https://doi-org.pointloma.idm.oclc.org/10.1093/gmo/9781561592630.article.6002278249. Accessed 6 February 2022. “Purcell, Henry.” Funk & Wagnalls New World Encyclopedia, Jan. 2018, p. 1; EBSCOhost, search-ebscohost-com.pointloma.idm.oclc.org/login.aspx?direct=true&db=funk&AN=pu154100&site=ehost-live. Accessed 6 February 2022. Radice, Mark A. “Henry Purcell’s Contributions to The Gentleman’s Journal, Part I.” Bach, vol. 9, no. 4, Oct. 1978, pp. 25–30. EBSCOhost, search-ebscohost-com.pointloma.idm.oclc.org/login.aspx?direct=true&db=aph&AN=92019848&site=ehost-live. Accessed 6 February 2022. Image: https://commons.wikimedia.org/wiki/File:Henry_Purcell_statue_on_the_Athe...
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Alysa Menjivar | ||
| 4 Mar 1678 to 28 Jul 1741 |
Vivaldi: Four Seasons, Spring, Movement #1 (1723) Antonio Lucio Vivaldi Born Antonio Lucio Vivaldi on March 4 1678 in Venice, Italy, Vivaldi was an Italian composer who made his mark on the late Baroque style of the concerto. He is described by Oxford music as “The most original and influential Italian composer of his generation,” with a musical language so distinctive that, “no brief description can do justice to the variety of form, scoring, and imaginative conception in Vivaldi’s 500-odd concertos”. Mainly taught violin by his father, Giovanni Battista, the “Red Priest” (called this due to his red hair) first played with his father in the basilica. Soon after he was ordained a Priest on March 23, 1703, having trained at S Geminiano and S Giovanni in Oleo, he was forced to give up celebrating mass due to his bronchial asthma. In September 1703 Vivaldi obtained his first official post, becoming maestro di Violino at Pio Ospedale della Pietà in Venice, a music school for orphaned and abandoned girls. He later made his debut as a sacred vocal music composer in 1713, and composed operas, sonatas, sacred compositions, cantas, and instrumental works. Vivaldi mastered the three movement concerto and is believed to be the first composer to use ritornello form regularly. He used instruments to illustrate a scene, especially notable in The Four Seasons (Opus 8, no. 1–4), cycles of violin concerti, depicting a different season of the year. In his “Spring” concerto, we are able to hear a sleeping shepherd (solo violin), a sheepdog (viola), and a rippling brook (orchestral violins). After a decline in popularity in 1739, it is believed that he died in poverty (as his funeral on July 28, 1741, would suggest). Vivaldi will be remembered as a “pioneer of orchestral programme music”, his autographed musical manuscripts bound in 27 volumes still with us today. (299) Sources: “Antonio Vivaldi.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Antonio-Vivaldi. “Vivaldi, Antonio.” Grove Music Online, https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592.... |
Valentina Montes | ||
| The end of the month Spring 1685 to The middle of the month Spring 1759 |
George Frideric Handel(1685-1759) and Messiah(1741) George Frideric Handel was born on February 23, 1685. Handel was interested in music from a young age despite his lack of fatherly approval. In 1703 Handel went to the opera house in Hamburg to play second violin there. In 1704, the most influential member of the opera house, Reinhard Keiser, had to move due to his many debts. This gave chances for other composers to have more of a place in the spotlight. This really kicked things off for Handel who was able to compose his first opera during this time. Handel traveled around quite a bit after Keiser returned to the opera house. He went to many places such as Italy, Hanover, Düsseldorf, and Londen. He continued to compose operas around the places he went but once he got to London he did quite a few commissions for different monarchs there. Here in London in 1718 he composed the very first english oratorio, Esther. In 1723 Handel finally got a house in London where he would live for the rest of his life. While in London he would do quite a bit of work for the monarchy all the time, including composing for Queen Caroline’s funeral. This whole time he was still composing operas as well. He began to grow more well known for his english work rather than the operas he was making. In 1741 Handel composed Messiah which was then performed in April of 1742. It had a mixed reception because large sections were taken directly from scripture and people were worried about scripture being sung in theater. “Rejoice Greatly” was an aria sung in scene 5 by a Soprano singer. Handel eventually fell into a rhythm of composing in the summers in time for a Lent performance season in spring. From 1749 onwards Messiah returned annually to be performed during this season. Handel eventually passed away on April 14th, 1759.
Sources: Hicks, A. Handel [Händel, Hendel], George Frideric. Grove Music Online. Retrieved 8 Apr. 2022, from https://www-oxfordmusiconline-com.pointloma.idm.oclc.org/grovemusic/view.... “Messiah, HWV 56 (Handel, George Frideric).” IMSLP, https://imslp.org/wiki/Messiah,_HWV_56_(Handel,_George_Frideric). Howard, Luke. “The History of Messiah and George Frideric Handel.” The Tabernacle Choir - Official Website, Intellectual Reserve, Inc., 19 Feb. 2021, https://www.thetabernaclechoir.org/messiah/historical-perspective-on-mes.... Image from Wikimedia Commons and is public domain |
Zebbie Ross | ||
| 1687 |
Jacquet de la Guerre: Suite #3 in A Minor, Allemande Portrait of Elisabeth Jacquet de la Guerre (1665-1729), French 17th century composer by Francois de Troy Elisabeth Jacquet de la Guerre (1666-1729) was born in Paris, France in 1666 to organ builder Claude Jacquet. From a very early age, her talents as a harpsichordist were prominent and she was allowed, against convention and law at the time, to play in the court of Louis XIV by the age of five. She left the court to get married in 1684 to organist Marin de la Guerre. Throughout her life she was known for her innovative compositions. She gave lessons in the city and was one of the first to publish a collection of harpsichord works in the sonata and cantata genres. She also composed vocal works for opera such as the tragédie lyrique, Céphale et Procris (1694) and Les jeux à l’honneur de la Victoire (1691) which were dedicated to Louis XIV. Suite #3 in A Minor: Allemande of the collection Les pièces de clavecin (1687) was one of a few collections that existed at the time. Not even male composers published albums such as she did. The collection is a variety of dances that are prefaced with a prelude and are grouped by key. Some of the notation is done with whole notes to give the performer the freedom to improvise the piece as they play with new timing or melodies/harmonies of choice. The song is slower with plenty of embellishments and ornaments. Complex top and bottom motives weave in and out to create an interesting melody transfer and a smooth, melodic bass line. The piece plays through with several repeats and reprises, never getting boring with all the trills and polyphonic homophonies spread throughout the piece, leaving the listener amazed at the masterpiece Jacquet de la Guerre created even in a time when she wasn’t supposed to be allowed to. (296) Cessac, Catherine. “Jacquet De La Guerre, Elisabeth.” Grove Music Online, Oxford Music Online, 2001, https://doi.org/10.1093/gmo/9781561592630.article.14084. Cypess, Rebecca. “Elisabeth-Claude Jacquet De La Guerre.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 23 June 2021, https://www.britannica.com/biography/Elisabeth-Claude-Jacquet-de-la-Guerre. Klotz, Hans. “Jacquet.” Edited by Catherine Cessac, Grove Music Online, Oxford Music Online, 2001, https://doi.org/10.1093/gmo/9781561592630.article.14082. Sadie, Julie Anne. “Jacquet De La Guerre, Elisabeth-Claude (Opera).” Grove Music Online, Oxford Online, 2002, https://doi.org/10.1093/gmo/9781561592630.article.O902423. “File:Elisabeth_Jacquet_de_La_Guerre-Full.jpg.” Wikipedia , Wikipedia , commons.wikimedia.org/wiki/File:Elisabeth_Jacquet_de_La_Guerre-full.jpg.
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Katherine Warren | ||
| 1700 |
Mary Astell: Some Reflections Upon Marriage Joshua Reynolds' Study for a Portrait (not the actual face of Mary Astell). Mary Astell (1666-1731), regarded as one of the first feminist-philosoper-writers in England, was born in Newcastle on November 12, 1666. She received an education from her uncle and clergyman, Ralph Astell. Her father, Peter Astell, died young and left the family in a state of financial turmoil, forcing them to borrow money. When she grew up, she chose to move to London by herself to be an unmarried writer, where she began her writing career in earnest. Some of her works include the Proposals (1694, 1697), Letters Concerning the Love of God (1695), Moderation Truly Stated (1704), A Fair Way with Dissenters and Their Patrons (1704), An Impartial Enquiry into the Late Causes of Rebellion and Civil War (1704), The Christian Religion as Profess'd by Daughter of the Church (1705), and An Inquiry after Wit (1709). She is well known for her bold critiques of John Locke and is also considered to be an unorthodox Cartesian. One of her more well known works about the treatment of women is the bold and cleverly written Some Reflections Upon Marriage (1700). It is a case against marriage using a variety of creative and logical arguments to help herself and the reader understand the cause of the evil treatment of women within the institution of marriage. She further pressed that if a woman were to desire marriage, she should fully educate herself so as to equal herself to her partner completely so he could be a friend rather than a ruler. After a brilliant writing career, a pious, Christian life, and revolutionary philosophical musings, Mary Astell died of breast cancer on May 9, 1731, leaving behind her books and notes to the Magdalen College Library (later ending up in the Magdalene College Library in Cambridge) for future generations to revel and study. (299) Sources: Sowaal, Alice. “Mary Astell.” Stanford Encyclopedia of Philosophy, Stanford University, 9 Dec. 2015, https://plato.stanford.edu/entries/astell/. Merians, Linda E. “Women in World History: A Biographical Encyclopedia.” Encyclopedia.com, Encyclopedia.com, https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-an.... Broad, Jacqueline. “Mary Astell.” Internet Encyclopedia of Philosophy, Internet Encyclopedia of Philosophy, https://iep.utm.edu/astell/. UI Press Wordmark, University of Illinois Press, https://www.press.uillinois.edu/books/?id=e097911. “Mary Astell's Some Reflections Upon Marriage.” British Library, British Library, https://www.bl.uk/collection-items/mary-astells-reflections-upon-marriage. “File:Reynold%27_Study_for_a_portrait.Jpg.” Wikipedia, Wikipedia, upload.wikimedia.org/wikipedia/commons/8/8e/Reynold%27_Study_for_a_portrait.jpg.
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Katherine Warren | ||
| The start of the month Spring 1731 to The end of the month Summer 1791 |
Catharine Sawbridge Macaulay Graham(1731-1791) Catherine Sawbridge Macaulay Graham was born on April 2nd, 1731. She was born to a wealthy family and her mother died in 1733. She did not receive much education but she used her father’s library quite often. In 1760 Catherine Sawbridge married George Macaulay. She began her rise to being known through the publishings of her eight volume set of a history of England. These were published throughout the years of 1763-1783. In 1766 her husband George Macaulay passed away. Catherine published her first pamphlet a year later in 1767. It was against Hobbes and his thoughts on why monarchy was good. Instead the pamphlet promoted a democratic republic. Catherine had quite a few communications with the colonists in America as well, one of these being Benjamin Franklin. In 1778 Catherine Sawbridge Macaulay married William Graham who was only 21 compared to Catherine who was 47 years old. The public was not too happy about this age difference and there were also rumors of her having an affair with William Graham’s brother. That year she continued her publishing which content-wise was too radical for even the Whig’s who had supported her up until then. When America had won its independence Catherine went with her husband to visit a few times. In 1785 she met with George Washington and they communicated through letters for a while afterwards. Catherine had some plans to write history of the American revolution after her America trip but her health would not allow it. In 1790 Catherine did however publish her Letters on Education, which argued against the ideas that there were differences between men and women that were just naturally there and argued for equal education among both parties. Before she passed away, Catherine returned to the political sphere briefly to support the French Revolution and then passed away on June 22, 1791.
Sources: Green, Karen. “Catharine Macaulay.” Stanford Encyclopedia of Philosophy, Stanford University, 1 June 2020, https://plato.stanford.edu/entries/catharine-macaulay/. Kritzberg, Margaret, and Emily Yankowitz. “Catharine Sawbridge Macaulay Graham (1731-1791).” George Washington's Mount Vernon, Mount Vernon Ladies’ Association, https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/.... Imagine is public domain from the Wikimedia Commons
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Zebbie Ross | ||
| 1 May 1751 to 6 Jul 1820 |
Constantia (Judith Sargent Stevens Murray) (1751-1820) “On the Equality of the Sexes” (1790) Constantia (Judith Sargent Stevens Murray) (1751-1820) “On the Equality of the Sexes” (1790) Judith Sargent Stevens Murray, an influential 18th and 19th-century American writer, was widely known for her journalistic essays on contemporary issues, especially women’s rights. Murray served as an early advocate for women’s equality, access to education, and the right to control their earnings. Murray was born a daughter of a wealthy shipowner and merchant, relying on the family’s library to teach herself philosophy, history, literature, and geography. Murray married her first husband John Stevens, a sea captain, in 1769, publishing her essays and poems after her husband accumulated debt following the Revolutionary war. The young author first published a few essays including “Desultory Thoughts upon the Utility of Encouraging a Degree of Self-Complacency, Especially in Female Bosoms” (1784) in a Boston magazine known as Gentleman and Lady’s Town and Country Magazine under the pseudonym “Constantia”. Two years after the death of her first husband, she married John Murray, a Universalist pastor. Universalism, a strand of English Protestantism, influenced Murray’s challenge of the “female brain being inherently inferior”. Murray argued that women should be addressed as rationally capable beings and given equal access to education. The author contributed to monthly columns entitled “The Gleaner”, commenting on public affairs and publishing her essays among the riveting “On the Equality of the Sexes” in 1790. Murray reasoned that women were not physically limited, but intellectually limited by lack of access to education. She believed “the success of a new nation required intelligent and virtuous citizens” since the education of “patriotic sons” fell on mothers they should be educated as well. In 1798, she published “The Gleaner’s” collected columns, and recruited presale subscribers with the endorsement of President Washington and Vice President John Adams. Murray’s work was vital to the post-revolutionary idea of “Republican Motherhood” and intellectual excitement that aroused interest in women’s rights. (300) Britannica, The Editors of Encyclopaedia. "Judith Sargent Stevens Murray". Encyclopedia Britannica, 2 Jul. 2021, https://www.britannica.com/biography/Judith-Sargent-Stevens-Murray. Accessed 11 April 2022. Curtis, Claire. "Murray, Judith Sargent." Encyclopedia of Women and American Politics , Lynne E. Ford, Facts On File, 2nd edition, 2014. Credo Reference , http://pointloma.idm.oclc.org/login?url=https://search.credoreference.com/content/entry/fofwomen/murray_judith_sargent/0?institutionId=874. Accessed 12 Apr. 2022. Brown, Herbert. American Literature, vol. 6, no. 1, 1934, pp. 102–03, https://doi.org/10.2307/2919700. Accessed 12 Apr. 2022. Michals, Debra. "Judith Sargent Murray." National Women's History Museum. National Women's History Museum, 2015. Accessed 12 Apr. 2022. |
Alysa Menjivar | ||
| 1753 to 5 Dec 1784 |
Phillis Wheatley and "On Being Brought from Africa to America" (1773) and "To the Right Honorable William, Earl of Dartmouth" (1773) Phillis Wheatley Believed to have been born in the Senegambia area in West Africa around 1753, Phillis Wheatley became the first African American (and third) woman poet in the United States. She was named after Phillis, the slave ship with which she was kidnapped and taken to Boston. In 1761, John Wheatley and his wife, purchased her with a trifle as she was believed to be “terminally ill.” Although she was not entirely excused from her duties, the Wheatleys’ taught Phillis to read and write in English, Greek and Latin. Leading her to publish her first poem at the age of thirteen. She published her first book, Poems on Various Subjects, Religious and Moral, in May 1773 in England and was freed later that year. According to Britannica her poems were highly influenced by the Neoclassical poets and were concerned with “morality, piety, and freedom” and mostly addressed to prominent figures such as Benjamin Franklin. In her poem, “To the Right Honorable William, Earl of Dartmouth” she mentions how she was snatched from Africa and her family and how makes it known that the custom of slavery is cruel and tyrannical. Her best known work, “On Being Brought from Africa to America”, advocates for those of African descent to be acknowledged as being part of the body of Christ and considers it mercy to have been brought to America. She married John Peters, a free black man in November 1778. While there are claims she had three children who died young, no official records exist, her husband later abandoned her. Unfortunately, she published only five poems after the deaths of the Wheatley’s whom she had stayed with even after being freed. She spent her last days as an impoverished servant until her death in December 1784. (293) Sources: "Phillis Wheatley." Poetry Foundation, Poetry Foundation, https://www.poetryfoundation.org/poets/phillis-wheatley "Phillis Wheatley."Encyclopedia Britannica, Encyclopedia Britannica, Inc., https://www.britannica.com/biography/Phillis-Wheatley Carretta, Vincent ."Phillis Wheatley." Oxford Bibliographies, https://www.oxfordbibliographies.com/view/document/obo-9780190280024/obo-9780190280024-0004.xml |
Valentina Montes | ||
| 1759 to 1797 |
Mary Wollstonecraft Mary Wollstonecraft's essay A Vindication of the Rights of Women is considered to be one of the most foundational writings for the feminist movement in the west. It is important to note that she was born in England during the Enlightenment period. The heavy emphasis on virtue, individualism, reason, and education during this era are echoed in her writings. She did not receive a formal education as a child, which was not unusual for a woman at the time. As a young woman, she founded a school for girls and worked as a governess; both of these experiences influenced her writings about the education of women. She began writing towards the end of the French Revolution; her first published work was Thoughts on the Education of Daughters. Shortly after, she wrote both Vindication of the Rights of Man (in response to Edmund Burke) and Vindication of the Rights of Women. Her most important arguments made in writings were that marriage was at its core an economic exchange/property relation, and that the constraints placed on women by society guaranteed them an unhappy life in which they were unable to meet society’s expectations for them. She was an advocate for women’s equality in education, believing it the best way for women to become true “enlightened” citizens. Her personal life was not always a happy one: she attempted suicide in spring 1894 after her first relationship with Gilbert Imlay ended. She eventually married a different man, William Godwin, after becoming pregnant with her second daughter, but died 11 days after giving birth. Her daughter, Mary Wollstonecraft Shelly, went on to become an author as well, writing Frankenstein. “Mary Wollstonecraft.” Brooklyn Museum: Mary Wollstonecraft, https://www.brooklynmuseum.org/eascfa/dinner_party/place_settings/mary_w.... “Mary Wollstonecraft.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/biography/Mary-Wollstonecraft. Tomaselli, Sylvana. “Mary Wollstonecraft.” Stanford Encyclopedia of Philosophy, Stanford University, 3 Dec. 2020, https://plato.stanford.edu/entries/wollstonecraft/. |
Reyna Huff | ||
| 1791 |
"Declaration of the Rights of Woman and of the Female Citizen" ("Déclaration des droits de la femme et de la citoyenne" (1791) by French Olympe de Gouges. Olympe de Gouges "Declaration of the Rights of Woman and of the Female Citizen" Olympe De Gouges May 7, 1748 – November 3, 1793 Olympe was born Mary Gouze on May 7, 1748 in Montauban, France. She moved to Paris with her young son after her husband died and changed her name to Olympe De Gouges. She rejected the notion of marriage, promising that she would never marry again. After moving to Paris, De Gouges began to advocate for various social and political issues. She wrote about improving divorce, maternity hospitals, abolitionism, rights for orphaned children and unmarried mothers. She wrote plays surrounding these ideas that graced the stages She wrote L’Esclavage des noirs (“Slavery of Blacks”) as well as many writings on the equality of the sexes, including Declaration des droits de la femme et de la citoyenne (“Declaration of the Rights of Woman and of the [Female] Citizen”). De Gouges believed that women and men should be treated equally and that “illegitimate” children should be given the same rights as the children of legal marriages. She held salons and began writing poetry, novellas, pamphlets and plays. Olympe did lean towards the moderate view on some issues, but was still very progressive for her time. De Gouges, already an advocate for human rights, became even more prolific during the French Revolution. The more experience she gained and the more that she wrote, she became increasingly progressive. In her writing, Declaration of Rights of Woman and the Female Citizen, she implored the Queen to join her in the feminist movement. She demanded that women be given the same right to climb the scaffold as men. This writing was a reaction to the document The Rights of Man, which excluded women. She was arrested for her outspoken beliefs in 1793 and was guillotined by Robespierre in Paris on November 3, 1793. (286) Sources “De Gouges, Olympe (1748–1793).” Historyofwomenphilosophers.Org, historyofwomenphilosophers.org/project/directory-of-women-philosophers/de-gouges-olympe-1748-1793. Accessed 13 Apr. 2022. “Olympe de Gouges | Biography, Declaration of the Rights of Women, Beliefs, Death, and Facts.” Encyclopedia Britannica, www.britannica.com/biography/Olympe-de-Gouges. Accessed 13 Apr. 2022. “Research Guides: Women in the French Revolution: A Resource Guide: Olympe de Gouges.” Women in the French Revolution, guides.loc.gov/women-in-the-french-revolution/olympe-de-gouges. Accessed 13 Apr. 2022. Image: https://en.wikipedia.org/wiki/Olympe_de_Gouges#/media/File:Olympe_de_Gouges.png |
Amelia Tsering |
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