In 1655, Venetian courtesan-composer Barbara Strozzi issued her only sacred opus, the Sacri musicali affetti, a volume of fourteen stunningly virtuosic solo motets. Scholars have puzzled over her motivation to do so. My dissertation argues that Strozzi published the Sacri musicali affetti the year before her illegitimate daughters entered the convent of San Sepolcro in order to refashion her identity from the immoral muse of her father's Accademia degli Unisoni to a devout mother of consecrated, virginal daughters. To this end, Strozzi dedicated the print to Anna de' Medici, Archduchess of Innsbruck, and chose as the first motet a paean to Saint Anne, whose pious but non-virginal motherhood of Mary serves as a lens through which Strozzi herself (and her dedicatee) may be perceived.;My research method is to examine the motets according to theological-thematic type: motets about the birth of Mary, motets to Saint Peter, other Marian motets, motets to the Blessed Sacrament and to the Most Holy Name of God, and motets to Saints Jerome, Benedict, and Anthony. I investigate the socio-historical circumstances surrounding each motet category, bringing to light several previously unknown associations between the Sacri musicali affetti and various phenomena in Strozzi's seventeenth-century world. For example, the Eucharistic motets and Oleum effusum to the Most Holy Name of God evoke previously overlooked remarks in the final will of Barbara Strozzi's father, Giulio. In light of the impassioned prayer that concludes this will, I offer an alternative interpretation of the Sacri musicali affetti as a votive offering for Giulio's soul.;The chapters conclude with textual-musical analyses, which examine Strozzi's nuanced treatment of the motets' profound liturgical intertextuality. In the conclusion, I consider the significance of the final motet to Saint Anthony of Padua in light of Strozzi's reception of the Sacrament of Penance just before her death in Padua in 1677. I suggest that Barbara Strozzi traveled to Padua in order to celebrate the Feast of Saint Anthony in June of that year, and to receive the indulgence offered to pilgrims who visited Anthony's tomb on his feast day.
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机译：1655年，威尼斯的妓女作曲家芭芭拉·斯特罗兹（Barbara Strozzi）发行了她唯一的神圣作品《萨克雷音乐剧》（Sacri musici affetti），其中有十四首令人惊叹的艺术独奏。学者们对她这样做的动机感到困惑。我的论文认为，斯特罗兹（Strozzi）在她的私生女进入圣塞波尔克罗修道院（San Sepolcro）的前一年出版了《圣典》音乐节，目的是将自己的身份从父亲父亲的学院（Accademia degli Unisoni）的不道德沉思中重新塑造成虔诚的，奉献的处女的母亲。为此，斯特罗兹将版画献给了因斯布鲁克大公爵夫人安娜·德·美第奇，并选择了圣安妮的赞美诗作为首个主题，圣玛丽的虔诚但非贞洁的母亲作为斯特罗兹自己（和她）的镜头我的研究方法是根据神学-主题类型检查这些动词：关于玛丽诞生的动词，关于圣彼得的动词，其他玛丽安的动词，对圣礼和最圣名的动词。上帝，还有圣杰罗姆，本尼迪克特和安东尼的圣人。我研究了围绕每个火鸡类别的社会历史情况，揭示了圣器音乐作品与Strozzi的17世纪世界中各种现象之间的一些先前未知的关联。例如，圣餐圣餐和以至圣至尊的油油画唤起了先前在芭芭拉·史卓兹（Barbara Strozzi）父亲朱利奥（Giulio）的最终遗嘱中忽略的言论。鉴于总结了这一意愿的热情祈祷，我对萨克雷音乐作品作为朱利奥灵魂的奉献物提供了另一种解释。本章以文本-音乐分析作为结尾，考察了斯特罗齐对这些小人物的深刻礼节性的细微处理。互文性。最后，鉴于斯特罗齐在1677年帕多瓦去世前对苦行圣礼的接受，我认为最后一字对帕多瓦的圣安东尼的意义。我建议芭芭拉·斯特罗齐为了庆祝盛宴而前往帕多瓦那年六月的圣安东尼大教堂，并接受朝圣者的放纵，他们在节日期间拜访了安东尼的坟墓。
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