Essay - Compare the Role that Patronage (Royal, Ecclesiastical, Private) Played in...

Compare the role that patronage (royal, ecclesiastical, private) played in ***** lives of musicians and the repertoire ***** was composed / performed. At least three different types of case studies (see list below) should be exam*****ed in terms of *****ir most significant *****-in-residence, its socio-cultural environment, opportunities for performance and composition, ***** locally preferred musical styles. One case study should be taken from each of the following categories: a) Royal or aristocratic court. b) Religious institutions including church, ca*****dral, chapel royal. c) Civi***** institutions including town council, university or school

Musicians throughout times have *****een able to create in accordance to the demands of those who had sponsored *****m. Similar to things nowadays, there had to be a demand on the market for the creati*****s ***** be absorbed, otherwise the artist could not live off ***** music he *****. This is why in many periods of musical history, we are facing a very close rel*****tionship between t***** repertoire composed by the artists and the desires and tastes of their patrons. Musicians such as Monteverdi, under religious patronage, might ***** had a musical portfolio that reflected closer these ***** requirements. On the other h*****, composers like Lully were ***** to praise the miracles and fascination of the French absolute monarchy and its king, Louis XIV.

***** paper will aim to show ***** analyze some of the obvious relationships ***** the type of patronage and the ***** ***** the musicians enjoyed, as well ***** to discuss this state of fact for various musicians during the Baroque period.

***** patronage

***** referring to the ***** period as a historical period, the monarchy of Louis XIV and his period ***** absolutism in France is perhaps ***** best example of monarchy encourag*****g arts and cultural expansion as an instrument of political propaganda. With a reign that covered over 50 years, Lou***** XIV covers a third of the period we are analyzing and is perhaps the period where one country, not necessarily politically, but also through its *****, culture, ***** and literal expansion, comes to dominate Europe.

***** mentioned, the arts and culture come in part as an excellent means of propag*****a, a way by which these art*****ts can acclaim the ***** realizations of Louis's reign in France. Lully, as the foremost composer in ***** ***** this period, can be *****ll included in this category of artists ***** ***** under the French *****'s patronage and who, at the same time, repay *****ly *****ir debt by praising the illustrious figure of the Sun King. Despite this, scholars have ranges their perspective ***** music in the *****s of Louis XIV, going from a purely political ***** to an entirely art-related role for the ***** in that time. The *****swer most likely lies some***** in *****tween.

Robert Isherwood is one ***** the scholars ***** sees music (as well as ***** arts) as conceived and supported solely so as to be in the service not ***** of France and not only of Louis *****, but ***** the service ***** the