Published in Music in Antiquity, Middle Ages & Renaissance

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20._marialeonorgarciadacruz.pdf

A very fashionable creation in modern Europe since the first edition of Andrea Alciato, the book of emblems, has been chosen as a historical source. The selection of the socio-political message and socio-economic discourse was made in emblems of different editions and spatial and time contexts that bring together inscriptio, pictura and subscriptio. It is valued a deepening of the explicit meanings in the motto and in the picture, when they exist, and we seek to unravel the hidden, not always completely decoded in the comments of the different editions. Hence, we choose to compare several versions of the same emblem, built in different contexts. Alciato’s political discourse necessarily reveals on many occasions social concerns, and they are the ones that lead us to clues about a discourse after all interdisciplinary, leading us to considerations sometimes of artistic nature or economic and financial management. Music and musical instruments become vehicles of concord and social concert, solidarity, resistance to crime and dissent that call into question social peace. The action of the prince or ruler, on the other hand, is considered in several perspectives: from a firm-hand ruler in defence of the common good to a tyrant, and to a defender of the good of the State not benefiting the victims of tax crimes. Alciato thus reveals strong controversies in the Renaissance.