Teilw. zugl.: Firenze, Istituto Univ. Europ., Diss.

Die Arbeit behandelt anhand des Dichtermusikers Girolamo Parabosco (ca. 1524–1557) die Musikkultur des mittleren Cinquecento-Venedig. Neben biographischen Bezügen werden primär soziokulturelle Kontexte wie Ridotti und informelle Akademien besprochen, wie sie in den zumeist literarischen Quellen repräsentiert sind. Einen Schwerpunkt bildet der Liebesdiskurs, der in den entsprechenden Kreisen florierte. Dieses breitere Panorama bildet den kulturellen Hintergrund für eine musikoliterarische Lektüre der Madrigali a cinque voci […] (Venedig, 1546) Paraboscos. Damit leistet die Arbeit einen wichtigen Beitrag, enge Verbindungen zwischen sozialen, kulturellen und musikalischen Bereichen des Cinquecento zu erschließen. / This study explores the musical culture of mid Cinquecento Venice through the poet-musician Girolamo Parabosco (ca. 1524–1557). Beyond biographical aspects, it is primarily focused on sociocultural contexts like ridotti and informal academies, as they are represented in literary sources. Emphasis lies on the discourse of love, which flourished in these circles. This broader picture works as the cultural background for reading musicoliterarily Paraboscos Madrigali a cinque voci […] (Venice, 1546). Thus, the study contributes to draw close relations between social, cultural and musical realms of the Cinquecento.

La tesi si apre con un capitolo introduttivo, che tiene presente l’arco cronologico compreso tra i secoli XII e XIX. L’ampiezza di questo periodo storico è giustificata dall’antichità delle istituzioni antecedenti al monastero cassinese di San Raimondo in Piacenza: una canonica agostiniana (secoli XII-XIV), dedicata a Santa Maria dei Dodici Apostoli, un ospedale di tipo medievale (secoli XII-XVI) e un monastero cistercense femminile (1414-1810). Si è cercato di mettere in luce che le vicende di queste istituzioni sono parte integrante della storia dell’attuale monastero. Dopo un accenno alle soppressioni napoleoniche e alle loro conseguenze per le religiose, la parte centrale della ricerca (comprendente gli altri tre capitoli) riguarda il monastero di San Raimondo in Piacenza nel suo periodo benedettino cassinese. L’erezione canonica è avvenuta nel 1835, in seguito all’iniziativa della fondatrice Teresa Maruffi (1780-1855), monaca piacentina. Nel lavoro si è cercato di mettere in luce l’influsso dell’istituzione anche in campo sociale ed educativo. Il monastero di San Raimondo, infatti, tenendo fermo il carattere contemplativo-claustrale della comunità che vi risiede, ha svolto e svolge tuttora un importante ruolo dal punto di vista scolastico-educativo ed apostolico in campo pastorale e sociale. / The thesis opens with an introductory chapter that considers the chronological period between XII and XIX centuries. The wideness of this historical period is justified by the antiquity of the institutions prior to the “cassinese” monastery of San Raimondo in Piacenza: an Augustinian presbytery (XII-XIV centuries), dedicated to Saint Mary of the Twelve Apostles, a medieval hospital (XII-XVI centuries) and a Cistercian convent (1414-1810). They have tried to point out that the events of these institutions are an integral part of the history of the present-day monastery. After a reference to the Napoleonic dissolution and to its consequences for the nuns, the central part of the research (including the other three chapters) concerns the monastery of San Raimondo in Piacenza during the Benedictine “cassinese” period. The monastery was founded in 1835 on the initiative of Teresa Maruffi (1780-1855), a nun from Piacenza. In the research they have tried to point out the influence of the institution in social and educational field. Actually, the monastery of San Raimondo, preserving the cloister-contemplative character of the community that resides there, has played and still plays an important role both from an educational point of view and an apostolic point of view in pastoral and social field.

The dissertation evaluated the formal, stylistic and contextual analysis of the painting oeuvre of the Cremonese native Antonio Campi. Monographic elaboration of Campi's oeuvre complement to the existing range of syntheses a number of information that has been in the literature so far omitted. The work assessed Antonio's oeuvre on the revision of archival material preserved in Milanese and Cremonese state and church archives, as well as by the means of thorough study of the secondary literature. Chronology of Campi's production was based on the stylistic and formal analysis and at the same time it has been enriched by a number of comparisons of the Lombardy-Ligurian region. Perspective at Antonio's oeuvre was accompanied by drawings and panel paintings that have emerged in the art market in recent years. With this thorough analysis, it became clear that the simple definition of an older Italian scientific literature that had Antonio Campi understood as a painter, who by his work formed the basis of Caravaggio chiaroscuro approach in the last decades of the 16th century and in the early years of the 17th age, proved to be inaccurate. It became clear that with this view we can not identify ourselves any more. Constant changes in mood, surprise, unpredictability, restlessness and individuality, the...