Thematische Bibliographien / Madrigals

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Madrigals“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Madrigals"

1

Carter, Tim. "Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy." Journal of Musicology 29, no. 4 (2012): 461–76. http://dx.doi.org/10.1525/jm.2012.29.4.461.

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The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and theolo
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Lannutti, Maria Sofia. "Madrigali pluristrofici nel repertorio dell'Ars Nova italiana." DILEF. Rivista digitale del Dipartimento di Lettere e Filosofia, no. 3 (October 17, 2023): 1–38. http://dx.doi.org/10.35948/dilef/2023.4329.

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La prima edizione critica dei più di 1100 testi poetici intonati dai polifonisti del Trecento e del primo Quattrocento, in corso nell’ambito del progetto ERC Advanced Grant ArsNova, ha permesso di precisare il corpus dei madrigali con più ritornelli intercalati nel corpo del testo dopo i singoli terzetti, e di definirne le caratteristiche formali. L’articolo offre inoltre l’edizione critica di otto madrigali (testo poetico e testo musicale).   The first critical edition of more than 1100 poetic texts set to music by 14th- and early 15th-century polyphonists, underway as part of the ER
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Lannutti, Maria Sofia. "Madrigali pluristrofici nel repertorio dell'Ars Nova italiana." DILEF. Rivista digitale del Dipartimento di Lettere e Filosofia, no. 3 (December 15, 2023): 134–71. http://dx.doi.org/10.35948/dilef/2024.4329.

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La prima edizione critica dei più di 1100 testi poetici intonati dai polifonisti del Trecento e del primo Quattrocento, in corso nell’ambito del progetto ERC Advanced Grant ArsNova, ha permesso di precisare il corpus dei madrigali con più ritornelli intercalati nel corpo del testo dopo i singoli terzetti, e di definirne le caratteristiche formali. L’articolo offre inoltre l’edizione critica di otto madrigali (testo poetico e testo musicale).   The first critical edition of more than 1100 poetic texts set to music by 14th- and early 15th-century polyphonists, underway as part of the ER
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Sýkora, Pavel. "Notes on the style and spiritual categorisation of Moralia by Jacobus Handl Gallus." Musicological Annual 44, no. 2 (2008): 29–38. http://dx.doi.org/10.4312/mz.44.2.29-38.

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Toward the end of his life, Jacobus Handl-Gallus (1550-1591) wrote two books of madrigals: Harmoniae morales and Moralia. The uniting element of both cycles is, except for the moralizing contents, Latin language, which is not usual for madrigal style.
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Newcomb, Anthony. "The New Roman Style and Giovanni Maria Nanino." Journal of Musicology 36, no. 2 (2019): 167–94. http://dx.doi.org/10.1525/jm.2019.36.2.167.

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As a composer of secular music, Giovanni Maria Nanino seems to have published only three books of madrigals and one of canzonettas, yet he contributed numerous pieces to anthologies, and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Indeed in the fifteen years before the death of Giovanni Pierluigi da Palestrina in 1594, Nanino rivaled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. By certain measures Nanino w
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Gerver, Larisa L. "The Fixed Poetic Form vs the Musical Form: The Experience of Analyzing Madrigal Settings of Sestina Texts." Problemy muzykal'noi nauki / Music Scholarship, no. 3 (2023): 23–34. http://dx.doi.org/10.56620/2782-3598.2023.3.023-034.

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The fixed poetic forms of Petrarch’s Canzoniere and the poetical works of the Petrarchist poets who imitated the great Italian master frequently served as texts for 16th century madrigals. In this connection, the author of the present article poses the question about the possible impact of the fixed poetic form on the form of the respective musical composition. A preliminary familiarization with madrigals composed on the texts of the sonnets, ballatas and sestinas (Italian: sestine) has shown that imitations of the poetic forms is the most discernible in those cases when the composer turns to
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Fenlon, Iain, and Harry B. Lincoln. "Madrigals Indexed." Musical Times 130, no. 1762 (1989): 744. http://dx.doi.org/10.2307/966758.

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Bennett, Lawrence, Andrea Gabrieli, A. Tillman Merritt, Andre Pevernage, and Gerald R. Hoekstra. "Complete Madrigals." Notes 42, no. 3 (1986): 640. http://dx.doi.org/10.2307/897352.

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Buja, Maureen, Claudio Merulo, James Bastian, and Bonner Mitchell. "Collected Madrigals." Notes 52, no. 1 (1995): 296. http://dx.doi.org/10.2307/898846.

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Abramov-van Rijk, Elena. "THE MADRIGAL AQUIL'ALTERA BY JACOPO DA BOLOGNA AND INTERTEXTUAL RELATIONSHIPS IN THE MUSICAL REPERTORY OF THE ITALIAN TRECENTO." Early Music History 28 (August 24, 2009): 1–37. http://dx.doi.org/10.1017/s0261127909000412.

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One difficulty in understanding the poetic texts of Trecento madrigals is that the language they use is often that of allegories and symbols, which requires a key for deciphering their true meaning. It is widely accepted, based on the interpretation of birds as heraldic symbols, that the madrigal Aquil'altera (Proud eagle) by Jacopo da Bologna was written either for a wedding or for a coronation ceremony. In this essay, however, I show that Aquila's content and literary style echo ideas and images that were circulating in the literature of the time, and especially in bestiaries and bestiary-in
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Dissertationen zum Thema "Madrigals"

1

Crawford, Glenda S. "A Conductor's Guide to Selected Concerted Madrigals from Madrigals Book 8 (Madrigali Guerrieri et Amorosi) by Claudio Monteverdi." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321367858.

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Hermsdorf, Dieter. "Die Madrigale Jacobus Arcadelts." Saarbrück : Saarbrücker Druckerei und Verlag, 2002. http://catalogue.bnf.fr/ark:/12148/cb38980967f.

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Paget, Laurie Alison. "The madrigals of Marc'Antonio Ingegneri." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338175.

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Freitas, Ludmilla Thompson Sathler 1989. "Os conceitos de gravità e piacevolezza no madrigal italiano do século XVI /." São Paulo, 2019. http://hdl.handle.net/11449/183194.

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Orientador(a): Marcos Fernandes Pupo Nogueira<br>Banca: Mônica Isabel Lucas<br>Banca: Achille Guido Picchi<br>Resumo: Considera-se que as ideias de Pietro Bembo, uma das figuras mais importantes da cena literária italiana do século XVI, desempenharam papel relevante na música de sua época, em especial no desenvolvimento do madrigal italiano, formato musical que se propôs a utilizar poemas de alto valor literário escritos em língua vernácula, especialmente o vulgar florentino. Desta maneira, esta pesquisa procura indagar de quais maneiras e em que medida as ideias de Pietro Bembo podem ter sido
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Rowcroft, Victoria Jane. "The secular music of Giovanni Battista Moscaglia." Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252047.

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Jacob, Roger. "The chansons and madrigals of Dominique Phinot (fl.c.1510-c.1556)." Thesis, University of Aberdeen, 1998. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=130926.

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This dissertation discusses the sixty-six chansons and two madrigals of Dominique Phinot ( <I>fl. c.</I> 1510 - <I>c.</I> 1556). These works are worthy of study in their own right. In addition, many contain innovatory elements which are historically significant. The dissertation is divided into six parts containing in total eleven chapters. Part A ( Chapter 1) summarizes Phinot's career and <I>oeuvre</I>, drawing upon both fact and speculation. Part B ( Chapters 2-6) deals with Phinot's four-voice non-canonic chansons, which are grouped according to the structures of their poetic texts. Chapte
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Parkes, Erin. "Bembism and motivicity in the madrigals of Willaert's "Musica nova"." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27002.

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In Venice in the mid-sixteenth-century, the madrigal was emerging as the highest musical expression of poetry. One of the foremost composers of this new genre was Adrian Willaert. The madrigals contained in his Musica nova for many are the pinnacle of the Italian madrigal. It has been suggested that Willaert's settings of Petrarch's poetry in this collection may have been influenced by the writings of Pietro Bembo, who was active in Venice in the first half of the sixteenth-century. It has also been suggested that Willaert used a compositional tool called motivicity in many of his works. The
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Gibbons, William James Carter Tim. "Issues of voice range and transposition in Monteverdi's Mantuan madrigals." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,124.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.<br>Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.
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Lloyd, Angela Jane. "Modal representation in the early madrigals of Cipriano de Rore." Thesis, Royal Holloway, University of London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362748.

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Knowles, Joseph Ian. "Modality and chromaticism in the madrigals of Don Carlo Gesualdo." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/10127/.

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Don Carlo Gesualdo, Prince of Venosa, (1566–1613) is celebrated for his idiosyncratic use of chromaticism. Yet, the harmony of Gesualdo's madrigals evades modal rules and his chromatic style has perplexed analysts. This thesis reappraises the modal and chromatic features in his madrigals and expands on their significance by employing pitch-class set theory analysis to enhance a more traditional modal approach. Whilst analysis of the music through modal features and pitch-class set theory may appear to use contradictory analytical methods, the two can complement each other through the recogniti
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Bücher zum Thema "Madrigals"

1

Casas, Carlos. Vespers & madrigals. a+mbookstore, 2017.

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Consort, Amaryllis. Italian madrigals. IMP, 1986.

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Monteverdi, Claudio. 3 madrigals. Éditions Doberman-Yppan, 2005.

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Bukowski, Charles. The Roominghouse Madrigals. HarperCollins, 2007.

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Monteverdi, Claudio. Songs and madrigals. Long Barn, 1999.

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Jeż, Tomasz. Madrygał w Europie północno-wschodniej: Dokumentacja, recepcja, przeobrażenia gatunku. Wydawn. Naukowe Semper, 2003.

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Carlo, Gesualdo. Selected madrigals for mixed voices. Gaudia Music and Arts, 1992.

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Roche, Elizabeth, Reynolds Barbara, and Jerome Roche. The flower of the Italian madrigal: For mixed voices : Light madrigals and villanellas. Gaudia Music and Arts, 1995.

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Teo, Kian-Seng. Chromaticism in the English madrigal. Garland, 1989.

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B, Skei Allen, ed. Madrigals for three to eight voices. A-R Editions, 1985.

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Buchteile zum Thema "Madrigals"

1

Schütz, Chantal. "Musical Representations of Natural Phenomena in Early Modern English Madrigals." In The Experience of Disaster in Early Modern English Literature. Routledge, 2022. http://dx.doi.org/10.4324/9781003273134-5.

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Leopold, Silke. "Italienische Madrigale." In Schütz Handbuch. Bärenreiter-Verlag, 2022. http://dx.doi.org/10.1007/978-3-7618-7277-2_13.

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Coluzzi, Seth J. "Reading the Madrigal." In Guarini's 'Il pastor fido' and the Madrigal. Routledge, 2022. http://dx.doi.org/10.4324/9781315463056-2.

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Santoyo, Julio-Cesar. "Alonso de Madrigal." In History and Historiography of Linguistics. John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.25san.

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Wood, Jennifer Linhart. "“A Madrigal of Procreation”." In New Essays on History and Form in Early Modern English Literature. Routledge, 2024. http://dx.doi.org/10.4324/9781003368502-8.

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Arnold, Denis. "The earlier madrigals." In Monteverdi. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164654.003.0004.

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Abstract The heart of Monteverdi’s music lies in his madrigals. There he tackled and solved what he conceived to be the problems of the composer. It is in his madrigal-books that we can observe his spiritual and technical development from his earliest youth to his old age. Just as Haydn’s soul is laid bare in his string quartets, so is Monteverdi’s in his madrigals; and this fact should make us cautious. No composer works in a medium for fifty years without taking it very seriously. The fact that the madrigal is by its nature a smaller-scale work than an opera or much of the church music does not mean we can dismiss it lightly.
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"MADRIGALS." In Federico García Lorca, Selected Suites. Liverpool University Press, 2018. http://dx.doi.org/10.2307/j.ctv16zjxsj.30.

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Watkins, Glenn, and Igor Stravinsky. "Text and Form." In Gesualdo. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162162.003.0005.

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Abstract GESUALDO was a composer who created principally to a text. It is therefore imperative to establish the textual basis of the madrigal, the principal object of his attention. A detailed survey of the madrigal’s textual development is, of course, beyond the scope of this study.1 Nevertheless, it is important to indicate something of the change in the relation of text to music which took place in Italian secular music after the beginning of the sixteenth century, before devoting our attention to the texts Gesualdo himself set and to their influence on the musical form of his madrigals.
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Carter, Tim. "Poetic Voices." In Monteverdi's Voices. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197759196.003.0005.

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Abstract This chapter discusses Monteverdi’s treatment in his madrigals of lyric, epic, and dramatic poetry. Who is “speaking” when and where? What happens when a single poetic voice is delivered by multiple musical ones? In his polyphonic madrigals, Monteverdi sometimes turns monologues into dialogues; other voices intervene; pronouns (“I,” “you”) become ambiguous; and issues of gender come into play. The common tendency to view these madrigals as “dramatic” misses an important lyric point, and even if the poetry itself is taken from a theatrical work, it now functions differently. The same is true of epic narrative with its mixing of diegesis and mimesis. Things change, however, with the rise of the continuo madrigal, where issues of voice should be clearer, but sometimes are not. Finally, the chapter asks, “Does Monteverdi himself ‘speak’ in and through his madrigals?”
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Watkins, Glenn, and Igor Stravinsky. "The Madrigals: Books I & II." In Gesualdo. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198162162.003.0006.

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Abstract THE form most consistently cultivated by Gesualdo was the five voice madrigal. Of the seven books of madrigals only one, the posthumous collection of 1626, developed the madrigal a sei. There are three excursions into the six-voice medium in the earlier volumes, the last piece of Book III and the last two (actually a single madrigal of two parts) of Book IV. Otherwise six-voice polyphony is reserved by Gesualdo for two sacred collections, the Sacrae Cantiones in sex vocibus of 1603 and the Responsoria of 1611.
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Konferenzberichte zum Thema "Madrigals"

1

Pieshkova, Veronika. "The Principle of Combination of the Music and Poetic Texts in the "Eighth Book" of Claudio Monteverdi's Madrigals." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.26.

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Aponte, Nestor, Luca Spogli, Anthea Coster, et al. "Scintillation Measurements in Madrigal: Expanded Capabilities and Initial Observations." In 4th URSI Atlantic RadioScience Conference. URSI – International Union of Radio Science, 2024. http://dx.doi.org/10.46620/ursiatrasc24/hjde5833.

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Cumming, Julie E., and Cory McKay. "Using corpus studies to find the origins of the madrigal." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0005.

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Di Tore, Pio Alfredo, Stefano Di Tore, Luca Andrea Ludovico, and Giuseppina Rita Mangione. "MADRIGALE: A Multimedia Application for Dyslexia and Reading Improvement GAmifying Learning Experience." In 2014 International Conference on Intelligent Networking and Collaborative Systems (INCoS). IEEE, 2014. http://dx.doi.org/10.1109/incos.2014.48.

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Serreli, Giovanni. "La seconda metà del XVI secolo: un punto di svolta nell’organizzazione difensiva del Regno di Sardegna." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11404.

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The second half of the sixteenth century: a turning point in the organization of the Kingdom of Sardinia defenseIn the second half of the sixteenth century, in accordance with the centralization and reorganization of the administrative and military apparatus desired by Philip II in the States of the Iberian Monarchy, military defense was reorganized in the Kingdom of Sardinia, against the threatened Franc-Turkish invasion of the Island. Until that time, in fact, the defense of the Kingdom was based only on the modernization of the main Royal Cities fortifications. The inspiring principle of th
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Szymanska-Stulka, Katarzyna. "SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretat
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Jordá Jordá, Aránzazu, Amadeo Valoria Martínez, and Joaquín Nieto Munuera. "RECAÍDA EN EL CONSUMO DE SUSTANCIAS SEGÚN LA SUSTANCIA CONSUMIDA, LA PATOLOGÍA COMÓRBIDA Y EL POLICONSUMO." In 22° Congreso de la Sociedad Española de Patología Dual (SEPD) 2020. SEPD, 2020. http://dx.doi.org/10.17579/sepd2020p052.

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Introducción: La recaída en el consumo de sustancias es un problema frecuente en el Trastorno por Uso de Sustancias (TUS), algunos factores se relacionan directamente: la patología dual y el policonsumo (De Andrés-Muñoz, 2017; Marín-Madrigal y cols., 2018;). Existen trabajos que estudian las categorías diagnósticas más frecuentemente asociadas al TUS, pero no existen apenas que valoren cómo estas categorías diagnósticas influyen en la recaída en el consumo de sustancias y en el policonsumo. Algunos estudios apuntan que son los trastornos de personalidad los que más se relacionan con las recaíd
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Berichte der Organisationen zum Thema "Madrigals"

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Nwankwo, Onyinye, Erin Lay, Robert Haaser, and Aaron Ridley. Geomagnetic Storm Effects on Ionospheric Irregularities: Insights from SuperDARN, Madrigal GPS TEC, and ISR Data. Office of Scientific and Technical Information (OSTI), 2023. http://dx.doi.org/10.2172/1993204.

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Anaya Martinez, Nelcy Juliana, Alexander Castro Polanco, and Alejandra Maria Peña Beltrán. Evaluación de productos Químicos y Biológico para Combatir la Antracnosis en Guanábana (Annona muricata L.) provocada por Colletotrichum spp. Universidad Nacional Abierta y a Distancia, 2023. http://dx.doi.org/10.22490/ecapma.6809.

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En varios municipios de Colombia, el cultivo de la guanábana tiene una gran importancia. La pulpa de este fruto es valorada en la producción a gran escala debido a su volumen considerable y su sabor distintivo. No obstante, su producción enfrenta diversos desafíos fitosanitarios que impactan económicamente, siendo uno de los principales la antracnosis provocada por el hongo Colletotrichum gloeosporioides, que afecta tanto al fruto como a tejido floral y foliar. Por lo anterior el presente estudio esta enfocado en evaluar productos biológicos y químicos para el control de la antracnosis en la g
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