ABSTRACT
The performances, the majority of which took place within the main courtyard of the ducal palace, were part tournament, part intermedio and part play, combining elaborate scenography and effects with staged battles, processions, music and dancing. The study of music within these performances is problematic. Although the descriptions make frequent references to music, no single piece of music, either printed or found in Ferrarese manuscripts, can be positively identified as have been performed as part of the festivities. The inclusion of so much music seems to have been largely motivated by the desire for entertainment: the musical episodes are invariably referred to as 'delightful' and consisting of 'the sweetest pleasure'. However, music was also used in more distinctly dramatic ways. Thus the presentation of confusion and chaos conspires to portray the duke as bringer of harmony: the more chaos he has to overcome, the more potent he appears.
