Guarini's 'Il pastor fido' and the Madrigal
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Guarini's 'Il pastor fido' and the Madrigal
Voicing the Pastoral in Late Renaissance Italy
Coluzzi, Seth
Taylor & Francis Ltd
01/2023
448
Dura
Inglês
9781138207097
15 a 20 dias
1006
Descrição não disponível.
Introduction: Voice, Genre, and Perspective in the Italian Madrigal
Pastoral Personas in a Tragicomic Plot
1. Reading the Madrigal: Mode, Structure, and the Analysis of Late-Renaissance Music
On Mode
Modal Unity within Diversity: Commixtio Tonorum
Analytical Approaches to Late-Renaissance Polyphony
2. The Play and Its Early Audiences
Guarini's Readings of the Early 1580s
Signs of Stagings in the Mid-1580s
Mantuan Efforts of the Early 1590s
The First (Confirmed) Productions
The Mantuan Productions of 1598 and the Madrigals of Gastoldi
Stagings in the Early Seventeenth Century
3. From Poetic Monster to Raccolta di madrigali: The Pastor fido Debate, 1586-1602
The First Wave of Debate: Denores and the two "Verrati," 1586-93
The Second Wave of Debate, 1600-01
4. Marenzio, Guarini, and the Origins of the Pastor fido Madrigal
Marenzio's "O fido, o caro Aminta" (1595): An Introduction to Some Textual Conflicts
Marenzio and His Patrons in Rome
Guarini and the Lyric Madrigal
Marenzio's Guarini Settings, 1580-99
Guarini's Drafts and Salviati's Lost Manuscript
Salviati's Annotazioni and the Texts of Marenzio's Madrigals
Scipione Gonzaga and Marenzio's Pastor fido Settings
5. Beyond the Theater in Rome and Mantua: The Settings of Marenzio and Wert
Marenzio's "O fido, o caro Aminta": The Integration of Text and Music
Marenzio's and Wert's Readings of "Cruda Amarilli" (1595)
Three Settings from Act 3
6. "Ahi, lasso!": Monteverdi, Il pastor fido, and a New, Mantuan Controversy
Monteverdi's Early and Variant Readings, 1592-1603
The Monteverdi-Artusi Debate: Musical and Extramusical Provocations
7. Madrigalian Discourses in (and Beyond) Monteverdi's Fifth Book
Modal Structure and the Temporal Worlds of Mirtillo and Amarilli
Interpersonal and Intertextual Dialogue in "Ecco, Silvio, colei che 'n odio hai tanto"
Inter-Madrigal Motives (and their Interpretative Consequences)
Monteverdi and the Madrigal as Discourse
8. The Settings of Pallavicino, Gastoldi, and Rossi, and the Afterglow of a Mantuan Pastoral Passion
Dilating Dissonances, Dynamic Structures, and Marenzian Ties in Pallavicino's Sixth Book (1600)
Beyond Balli: Concision, Contrast, and Characterization in Gastoldi's "Pastor fido" Settings
Salamone Rossi: Marenzian Cues on a New, Mantuan Stage
The Expectations of a "Pastor fido" Madrigal Reading and the Example of Artusi's Failure
Pastoral Personas in a Tragicomic Plot
1. Reading the Madrigal: Mode, Structure, and the Analysis of Late-Renaissance Music
On Mode
Modal Unity within Diversity: Commixtio Tonorum
Analytical Approaches to Late-Renaissance Polyphony
2. The Play and Its Early Audiences
Guarini's Readings of the Early 1580s
Signs of Stagings in the Mid-1580s
Mantuan Efforts of the Early 1590s
The First (Confirmed) Productions
The Mantuan Productions of 1598 and the Madrigals of Gastoldi
Stagings in the Early Seventeenth Century
3. From Poetic Monster to Raccolta di madrigali: The Pastor fido Debate, 1586-1602
The First Wave of Debate: Denores and the two "Verrati," 1586-93
The Second Wave of Debate, 1600-01
4. Marenzio, Guarini, and the Origins of the Pastor fido Madrigal
Marenzio's "O fido, o caro Aminta" (1595): An Introduction to Some Textual Conflicts
Marenzio and His Patrons in Rome
Guarini and the Lyric Madrigal
Marenzio's Guarini Settings, 1580-99
Guarini's Drafts and Salviati's Lost Manuscript
Salviati's Annotazioni and the Texts of Marenzio's Madrigals
Scipione Gonzaga and Marenzio's Pastor fido Settings
5. Beyond the Theater in Rome and Mantua: The Settings of Marenzio and Wert
Marenzio's "O fido, o caro Aminta": The Integration of Text and Music
Marenzio's and Wert's Readings of "Cruda Amarilli" (1595)
Three Settings from Act 3
6. "Ahi, lasso!": Monteverdi, Il pastor fido, and a New, Mantuan Controversy
Monteverdi's Early and Variant Readings, 1592-1603
The Monteverdi-Artusi Debate: Musical and Extramusical Provocations
7. Madrigalian Discourses in (and Beyond) Monteverdi's Fifth Book
Modal Structure and the Temporal Worlds of Mirtillo and Amarilli
Interpersonal and Intertextual Dialogue in "Ecco, Silvio, colei che 'n odio hai tanto"
Inter-Madrigal Motives (and their Interpretative Consequences)
Monteverdi and the Madrigal as Discourse
8. The Settings of Pallavicino, Gastoldi, and Rossi, and the Afterglow of a Mantuan Pastoral Passion
Dilating Dissonances, Dynamic Structures, and Marenzian Ties in Pallavicino's Sixth Book (1600)
Beyond Balli: Concision, Contrast, and Characterization in Gastoldi's "Pastor fido" Settings
Salamone Rossi: Marenzian Cues on a New, Mantuan Stage
The Expectations of a "Pastor fido" Madrigal Reading and the Example of Artusi's Failure
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
madrigal;Guarini;Battista Guarini;musicology;music history;drama;theatre;Renaissance;Sixteenth century;16th century;Italy;Italian history;Baroque music;chamber music;vocal music;song;early modern;literature;patronage;Pastor Fido;Cruda Amarilli;Guarini's Tragicomedy;Guarini's Play;Seconda Pratica;Anima Mia;Marenzio's Settings;Madrigal Texts;Polyphonic Madrigal;Modal Octave;Viola Bastarda;Marenzio's Madrigal;Monteverdi's Work;Madrigal Book;Ahi Lasso;Cinzio Aldobrandini;Monteverdi's Madrigals;Colei Che;Concerto Delle Donne;Lasciatemi Morire;Monteverdi's Settings;Monteverdi's Music;Cipriano De Rore;Il Bianco;Pastoral Tragicomedy
Introduction: Voice, Genre, and Perspective in the Italian Madrigal
Pastoral Personas in a Tragicomic Plot
1. Reading the Madrigal: Mode, Structure, and the Analysis of Late-Renaissance Music
On Mode
Modal Unity within Diversity: Commixtio Tonorum
Analytical Approaches to Late-Renaissance Polyphony
2. The Play and Its Early Audiences
Guarini's Readings of the Early 1580s
Signs of Stagings in the Mid-1580s
Mantuan Efforts of the Early 1590s
The First (Confirmed) Productions
The Mantuan Productions of 1598 and the Madrigals of Gastoldi
Stagings in the Early Seventeenth Century
3. From Poetic Monster to Raccolta di madrigali: The Pastor fido Debate, 1586-1602
The First Wave of Debate: Denores and the two "Verrati," 1586-93
The Second Wave of Debate, 1600-01
4. Marenzio, Guarini, and the Origins of the Pastor fido Madrigal
Marenzio's "O fido, o caro Aminta" (1595): An Introduction to Some Textual Conflicts
Marenzio and His Patrons in Rome
Guarini and the Lyric Madrigal
Marenzio's Guarini Settings, 1580-99
Guarini's Drafts and Salviati's Lost Manuscript
Salviati's Annotazioni and the Texts of Marenzio's Madrigals
Scipione Gonzaga and Marenzio's Pastor fido Settings
5. Beyond the Theater in Rome and Mantua: The Settings of Marenzio and Wert
Marenzio's "O fido, o caro Aminta": The Integration of Text and Music
Marenzio's and Wert's Readings of "Cruda Amarilli" (1595)
Three Settings from Act 3
6. "Ahi, lasso!": Monteverdi, Il pastor fido, and a New, Mantuan Controversy
Monteverdi's Early and Variant Readings, 1592-1603
The Monteverdi-Artusi Debate: Musical and Extramusical Provocations
7. Madrigalian Discourses in (and Beyond) Monteverdi's Fifth Book
Modal Structure and the Temporal Worlds of Mirtillo and Amarilli
Interpersonal and Intertextual Dialogue in "Ecco, Silvio, colei che 'n odio hai tanto"
Inter-Madrigal Motives (and their Interpretative Consequences)
Monteverdi and the Madrigal as Discourse
8. The Settings of Pallavicino, Gastoldi, and Rossi, and the Afterglow of a Mantuan Pastoral Passion
Dilating Dissonances, Dynamic Structures, and Marenzian Ties in Pallavicino's Sixth Book (1600)
Beyond Balli: Concision, Contrast, and Characterization in Gastoldi's "Pastor fido" Settings
Salamone Rossi: Marenzian Cues on a New, Mantuan Stage
The Expectations of a "Pastor fido" Madrigal Reading and the Example of Artusi's Failure
Pastoral Personas in a Tragicomic Plot
1. Reading the Madrigal: Mode, Structure, and the Analysis of Late-Renaissance Music
On Mode
Modal Unity within Diversity: Commixtio Tonorum
Analytical Approaches to Late-Renaissance Polyphony
2. The Play and Its Early Audiences
Guarini's Readings of the Early 1580s
Signs of Stagings in the Mid-1580s
Mantuan Efforts of the Early 1590s
The First (Confirmed) Productions
The Mantuan Productions of 1598 and the Madrigals of Gastoldi
Stagings in the Early Seventeenth Century
3. From Poetic Monster to Raccolta di madrigali: The Pastor fido Debate, 1586-1602
The First Wave of Debate: Denores and the two "Verrati," 1586-93
The Second Wave of Debate, 1600-01
4. Marenzio, Guarini, and the Origins of the Pastor fido Madrigal
Marenzio's "O fido, o caro Aminta" (1595): An Introduction to Some Textual Conflicts
Marenzio and His Patrons in Rome
Guarini and the Lyric Madrigal
Marenzio's Guarini Settings, 1580-99
Guarini's Drafts and Salviati's Lost Manuscript
Salviati's Annotazioni and the Texts of Marenzio's Madrigals
Scipione Gonzaga and Marenzio's Pastor fido Settings
5. Beyond the Theater in Rome and Mantua: The Settings of Marenzio and Wert
Marenzio's "O fido, o caro Aminta": The Integration of Text and Music
Marenzio's and Wert's Readings of "Cruda Amarilli" (1595)
Three Settings from Act 3
6. "Ahi, lasso!": Monteverdi, Il pastor fido, and a New, Mantuan Controversy
Monteverdi's Early and Variant Readings, 1592-1603
The Monteverdi-Artusi Debate: Musical and Extramusical Provocations
7. Madrigalian Discourses in (and Beyond) Monteverdi's Fifth Book
Modal Structure and the Temporal Worlds of Mirtillo and Amarilli
Interpersonal and Intertextual Dialogue in "Ecco, Silvio, colei che 'n odio hai tanto"
Inter-Madrigal Motives (and their Interpretative Consequences)
Monteverdi and the Madrigal as Discourse
8. The Settings of Pallavicino, Gastoldi, and Rossi, and the Afterglow of a Mantuan Pastoral Passion
Dilating Dissonances, Dynamic Structures, and Marenzian Ties in Pallavicino's Sixth Book (1600)
Beyond Balli: Concision, Contrast, and Characterization in Gastoldi's "Pastor fido" Settings
Salamone Rossi: Marenzian Cues on a New, Mantuan Stage
The Expectations of a "Pastor fido" Madrigal Reading and the Example of Artusi's Failure
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
madrigal;Guarini;Battista Guarini;musicology;music history;drama;theatre;Renaissance;Sixteenth century;16th century;Italy;Italian history;Baroque music;chamber music;vocal music;song;early modern;literature;patronage;Pastor Fido;Cruda Amarilli;Guarini's Tragicomedy;Guarini's Play;Seconda Pratica;Anima Mia;Marenzio's Settings;Madrigal Texts;Polyphonic Madrigal;Modal Octave;Viola Bastarda;Marenzio's Madrigal;Monteverdi's Work;Madrigal Book;Ahi Lasso;Cinzio Aldobrandini;Monteverdi's Madrigals;Colei Che;Concerto Delle Donne;Lasciatemi Morire;Monteverdi's Settings;Monteverdi's Music;Cipriano De Rore;Il Bianco;Pastoral Tragicomedy
