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Zeitschriftenartikel zum Thema „Madrigals“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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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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2

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). &nbsp; 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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3

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). &nbsp; 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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Schmidt, Lothar. "Beobachtungen zur Passionsthematik im italienischen geistlichen Madrigal." Schütz-Jahrbuch 16 (August 22, 2017): 67–84. http://dx.doi.org/10.13141/sjb.v1994804.

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Die Passion Christi ist eines der wichtigen poetischen Themen des italienischen geistlichen Madrigals. Auf Grundlage von Kompositionen von Lamberto Courtois, Gasparo Costa und Giovanni Giacomo Gastoldi (RISM 1563/7, RISM C 4218 und RISM 1598/6), die zwischen 1563 und 1598 gedruckt wurden, werden verschiedene Möglichkeiten, die Thematik textlich zu verarbeiten, dargestellt. Damit verbunden ist die Frage, in welcher Weise diese geistlichen Madrigale an einen spezifischen Kontext gebunden sind, gerade in Hinblick auf ihre Veröffentlichungsform. (Übersetzung, englische Vorlage: Bibliographie des M

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12

Abramov-van Rijk, Elena. "THE ITALIAN EXPERIENCE OF THE HOLY ROMAN EMPEROR CHARLES IV: MUSICAL AND LITERARY ASPECTS." Early Music History 37 (October 2018): 1–44. http://dx.doi.org/10.1017/s0261127918000025.

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The Italians had conflicting sentiments regarding the visit of the Holy Roman Emperor Charles IV in Italy in 1355: from the enthusiastic expectations of the impact the Emperor would have on the local political life to contemptuous scepticism and even to overt disdain. Two Italian Trecento madrigals have traditionally been considered to refer to this visit: (1) the three-voice polytextual madrigal Aquil altera/Creatura gentil/Uccel di Dio by Jacopo da Bologna, seen as related to Charles’s coronation with the Iron Crown of Lombardy in Milan; and (2) the two-voice madrigal Sovran uccello by Donat

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13

Paget, Laurie. "Canzonettas and madrigals." Early Music XXIII, no. 4 (1995): 709–11. http://dx.doi.org/10.1093/earlyj/xxiii.4.709.

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14

Carter, Tim. "Madrigals and arias." Early Music XXVI, no. 3 (1998): 509–11. http://dx.doi.org/10.1093/earlyj/xxvi.3.509.

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15

Cater, Tim. "Madrigals and duets." Early Music XXVIII, no. 2 (2000): 306–8. http://dx.doi.org/10.1093/earlyj/xxviii.2.306.

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16

Gerbino, Giuseppe. "Complete Madrigals (review)." Notes 59, no. 3 (2003): 751–53. http://dx.doi.org/10.1353/not.2003.0015.

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17

Greig, Donald. "English madrigals filmed." Early Music 48, no. 1 (2020): 124–26. http://dx.doi.org/10.1093/em/caaa011.

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18

Гервер, Л. Л., and Д. А. Ковалевская. "Is Metrotectonic Perfection Characteristic of Madrigals by Luca Marenzio?" Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 44–69. http://dx.doi.org/10.26176/mosconsv.2019.39.4.002.

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В статье предлагается трактовка формы мадригалов Маренцио с позиций метротектонизма: аналитические установки Г. Э. Конюса адаптированы к особенностям вокального полифонического многоголосия. Основное внимание уделено соотношению поэтической и музыкальной структур мадригала. Как показано в статье, строфика стихотворного текста преобразуется в симметричную музыкальную конструкцию. При этом единицами музыкальной конструкции служат построения равной протяженности, далеко не всегда заключающие в себе одинаковое количество стихотворных строк; музыкальная симметрия часто сочетается с ассиметричным ра

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19

DeFord, Ruth I. "Complete Unaccompanied Madrigals (review)." Notes 63, no. 2 (2006): 427–31. http://dx.doi.org/10.1353/not.2006.0140.

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20

Epstein, Marcia J., and A. Tillman Merritt. "Andrea Gabrieli: Complete Madrigals." Sixteenth Century Journal 19, no. 2 (1988): 292. http://dx.doi.org/10.2307/2540445.

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21

O'Regan, N. "Monteverdi motets and madrigals." Early Music 34, no. 3 (2006): 510–13. http://dx.doi.org/10.1093/em/cal045.

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22

Moody, I. "Madrigals, frottolas and cantiones." Early Music 36, no. 4 (2008): 644–45. http://dx.doi.org/10.1093/em/can098.

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23

Milsom, J. "Madrigals, canons and songs." Early Music 41, no. 3 (2013): 511–12. http://dx.doi.org/10.1093/em/cat062.

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24

Hong, Anna Maria. "The New Madrigals (Gesualdo)." Pleiades: Literature in Context 40, no. 2 (2020): 64–65. http://dx.doi.org/10.1353/plc.2020.0122.

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25

Abramov-van Rijk, Elena. "The non-Italian Ars Nova: how to read the madrigal Povero zappator by Lorenzo da Firenze." Early Music 48, no. 1 (2020): 41–54. http://dx.doi.org/10.1093/em/caz093.

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Abstract The label ‘Ars Nova’ is not easily applicable to Italian 14th-century music, since its main characteristics, such as isorhythm, diminution, pre-existing tenors, and so on, are practically absent, with a few exceptions, from Italian musical compositions, even Italian motets. Yet, isorhythm and diminution were used in the madrigal Povero zappator by Lorenzo da Firenze. What was the reason for using these devices just in this madrigal, whose poetic text about a lone sailor in a tempestuous sea at first glance seems to be a poem typical of Trecento madrigals? This article contends that th

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26

Farahat, Martha. "On the staging of madrigal comedies." Early Music History 10 (October 1991): 123–43. http://dx.doi.org/10.1017/s026112790000111x.

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The brief life of the madrigal comedy spans the forty-year period from 1590 to 1630. Coming at the end of the sixteenth century, the genre marked the decline of the polyphonic madrigal style and heralded the evolution of secular vocal music's emphasis on the dramatic. As a genre, the madrigal comedy is not well known, and its designation can lead to confusion, because the term refers to collections of compositions that need not consist of madrigals or by themselves form comedies. Nevertheless it is a term that retains some usefulness in isolating a body of works from the late sixteenth and ear

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27

Strykowski, Derek R. "Text Painting, or Coincidence? Treatment of Height-Related Imagery in the Madrigals of Luca Marenzio." Empirical Musicology Review 11, no. 2 (2017): 109. http://dx.doi.org/10.18061/emr.v11i2.4903.

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Text painting is a defining characteristic of the sixteenth-century madrigal style, especially in association with references to height. Whereas composers cannot have given musical illustration to every such reference contained within the text of a madrigal, the question of whether or not the music that accompanies a particular reference to height constitutes an actual example of text painting is sometimes unclear. To explore this problem empirically, the frequency with which musical excerpts from a corpus of 201 madrigals composed by the Italian composer Luca Marenzio satisfied three proposed

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28

Micał, Dominika. "„Ja” na pięć głosów rozpisane? Wielogłosowość madrygału od 1950 roku." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 40–56. http://dx.doi.org/10.14746/rfn.2021.22.4.

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Surprisingly, since 1950, at least 500 works connected to the madrigal, and among them at least 454 madrigals, have been written. Unfortunately, a comprehensive musicological or theoretical-musical approach to that issue has been lacking so far. Using the genre studies perspective, the article aims to show how some composers working in the second half of the 20th–century and in the 21st–century respond to the early madrigal in terms of one of the most important madrigal characteristics – its polyphonic scoring and texture. That aspect, criticised by theorists at the end of the 17 th century, b

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29

Haar, James. "The Early Madrigals of Lassus." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 39 (1985): 17. http://dx.doi.org/10.2307/3686969.

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30

Boyer, D. Royce, Thea Musgrave, and Judith Lang Zaimont. "Rorate Coeli & Four Madrigals." American Music 9, no. 2 (1991): 238. http://dx.doi.org/10.2307/3051822.

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31

Thomas, Gavin, Concerto Italiano, and Rinaldo Alessandrini. "Monteverdi: Sixth Book of Madrigals." Musical Times 134, no. 1803 (1993): 281. http://dx.doi.org/10.2307/1002455.

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32

Smith, Richard Langham, Monteverdi, and The Consort of Musicke. "Madrigals, Books 2 & 3." Musical Times 134, no. 1808 (1993): 591. http://dx.doi.org/10.2307/1002882.

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33

Burford, Mark Jon. "Cipriano de Rore's Canonic Madrigals." Journal of Musicology 17, no. 4 (1999): 459–97. http://dx.doi.org/10.2307/763929.

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34

Wilson, Christopher R. "Review: Italian Madrigals Englished (1590)." Music and Letters 83, no. 2 (2002): 326–27. http://dx.doi.org/10.1093/ml/83.2.326.

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35

Owens, Jessie Ann. "Italian Madrigals Englished (1590) (review)." Notes 61, no. 2 (2004): 551–53. http://dx.doi.org/10.1353/not.2004.0155.

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36

Burford, Mark Jon. "Cipriano de Rore's Canonic Madrigals." Journal of Musicology 17, no. 4 (1999): 459–97. http://dx.doi.org/10.1525/jm.1999.17.4.03a00030.

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37

Thomas, Gary C. "PHILIPP VON ZESEN'S GERMAN MADRIGALS." Daphnis 21, no. 4 (1992): 641–72. http://dx.doi.org/10.1163/18796583-90000533.

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38

O’Regan, Noel. "Italian madrigals, secular and spiritual." Early Music 44, no. 1 (2016): 175–78. http://dx.doi.org/10.1093/em/caw019.

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39

Гервер, Л. Л. "Revision of the Imitation Rules in the Madrigals of Luca Marenzio and Carlo Gesualdo." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 95–106. http://dx.doi.org/10.26156/om.2020.12.5.006.

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Статья посвящена пересмотру правил строгого стиля в имитационном письме мадригалов Луки Маренцио и Карло Джезуальдо. Показаны основные признаки мадригальной имитации: 1) особые типы соджетто, которые можно объяснить воздействием идеи imitazione delle parole: соджетто-возглас (с текстом Ahimè, Io moro и т. п.) и звукоизобразительное соджетто; 2) предельная краткость имитационных построений и их группировка по принципу имитационного «ядра» и имитационного «развертывания»; 3) контрастные сопоставления смежных имитационных групп; 4) паузирование во всех голосах ансамбля как один из приемов такого

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40

Getz, Christine. "The Sforza restoration and the founding of the ducal chapels at Santa Maria della Scala in Milan and Sant'Ambrogio in Vigevano." Early Music History 17 (October 1998): 109–59. http://dx.doi.org/10.1017/s0261127900001625.

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Although a number of motet, madrigal and lute collections supported by local Milanese patrons were printed in Milan and Venice during the first half of the sixteenth century, modern scholars continue to regard this period in Milanese history as fallow in musical activity. This phenomenon has resulted from a lack of documentary evidence regarding both the activities of the musicians who contributed to these collections and the musical institutions with which these musicians and their patrons were associated. While several studies on music at the Duomo of Milan during the first half of the sixte

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Cusick, Suzanne G. "Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy." Journal of the American Musicological Society 46, no. 1 (1993): 1–25. http://dx.doi.org/10.2307/831804.

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This essay examines the presence of gender metaphors in the documents of the Monteverdi-Artusi controversy. Such metaphors include literal and figurative representations of sexuality and gender in the theoretical arguments on both sides; representations of gender, sexuality, and power in the oratione asserted to have governed the composition of the two most discussed works, the madrigals "Cruda Amarilli" and "O Mirtillo"; and representations of resistance to patriarchal authority in the armonia of both madrigals. Such examination shows (1) that the focus on these two madrigals by both parties

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42

Gerbino, Giuseppe. "The Madrigals of Michelangelo Rossi (review)." Notes 61, no. 3 (2005): 847–49. http://dx.doi.org/10.1353/not.2005.0011.

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43

Carter, Tim. "Caccini'sAmarilli, mia bella: Some Questions (and a Few Answers)." Journal of the Royal Musical Association 113, no. 2 (1988): 250–73. http://dx.doi.org/10.1093/jrma/113.2.250.

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Amarilli, mia bellais the best known of the solo madrigals that Giulio Caccini included in hisLe nuove musicheof 1602.' The text was by Alessandro Guarini, who no doubt saw in his poem thebrevità, acutezza, leggiadria, nobiltàanddolcezzathat he claimed were most characteristic of modern madrigal verse. Similarly, theleggiadriaanddolcezzaof Caccini's setting have marked it out for prominence: Amarilh, mia bella was one of the first of his songs to be disseminated widely through Italy and Europe, and its distinction is reflected in its frequent appearance (often in less than satisfactory edition

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44

Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.

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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compos

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45

Giles, Roseen. "Giambattista Marino’s L’Adone: A Drama of Madrigals." Italianist 40, no. 3 (2020): 419–40. http://dx.doi.org/10.1080/02614340.2020.1886756.

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46

CHAUDHURI, SUKANTA. "MARLOWE, MADRIGALS, AND A NEW ELIZABETHAN POET." Review of English Studies XXXIX, no. 154 (1988): 199–216. http://dx.doi.org/10.1093/res/xxxix.154.199.

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47

Bizzarini, Marco, and Massimo Privitera. "Competition, Cultural Geography, and Tonal Space in the Book of Madrigals L’amorosa Ero (1588)." Journal of Musicology 29, no. 4 (2012): 422–60. http://dx.doi.org/10.1525/jm.2012.29.4.422.

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Around 1587 the Brescian nobleman Count Marc’Antonio Martinengo di Villachiara, who was renowned for his political and military experience as well as competence in both music and poetry, wrote a madrigal text, set it to music, and sent it to seventeen composers in different parts of Italy. Published under the title of L’amorosa Ero (Brescia, 1588), the collection gives the opportunity to compare some of the most influential composers such as Marenzio, Luzzaschi, Ingegneri, Striggio, and many others. The first part of the article focuses on the historical background to this collection, with spe

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Tytova, Mariia. "“Madrigāls” by Peteris Vasks: ways to renew the genre tradition." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 112–25. http://dx.doi.org/10.31318/2522-4190.2022.135.271009.

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The relevance of the study lies in highlighting the main principles of updating the ancient genre tradition with modern means in «Madrigāls» for mixed choir a сappella by the Latvian composer Peteris Vasks. The main objective of the article is to reveal the ways of updating the genre tradition and expressive means of music in «Madrigals» by Peteris Vasks for the a cappella choir. The methodology includes methods of historical, comparative, structural and functional analysis for: tracing the history of the emergence and development of the madrigal genre and identifying the peculiari

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Toliver, Brooks. "Improvisation in the Madrigals of the "Rossi Codex"." Acta Musicologica 64, no. 2 (1992): 165. http://dx.doi.org/10.2307/932914.

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Haar, James. "Towards a Chronology of the Madrigals of Arcadelt." Journal of Musicology 5, no. 1 (1987): 28–54. http://dx.doi.org/10.2307/763823.

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