Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music. Jonathan E. Glixon. Oxford: Oxford University Press, 2017. xviii + 452 pp. $55.
style” (225). A different approach is shown by Jason Stoessel, who reviews the musical sources of French-text songs, which can be linked to the council. More focused on the event itself are two articles dealing with important musicians who can be linked to the council. Francesco Zimei investigates the known information about Antonio Zacara da Teramo, who was not only a musician and composer, but also a “sciptore e miniatore” (193). Zimei uses this double profile efficiently to explain some peculiarities in Zacara’s music. One of the few musicians who definitely attended the council is Oswald von Wolkenstein. Marc Lewon investigates the many references to the council in the work of Oswald. Important is his remark that Oswald, who was being investigated during the council in 1415 in the retinue of King Sigismund, was no simple musician but an aristocrat. This reminds us that musicologists tend to always see musicians, even if they find noblemen. The volume has a very helpful and detailed index, but unfortunately no bibliography. Due to the character of conference proceedings some redundancies can be located (e.g., inevitable reference to the chronicle of Ulrich von Richenthal and its meager and certainly overinterpreted hints to music). Besides being a comprehensive review of the council, the most important aspect of this publication is its significant contribution to the ongoing discussion of musical sources and their possible relation to historical events.