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Dissertations / Theses on the topic 'Claudio Monteverdi'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Haramaki, Gordon. "Beyond the seconda prattica Claudio Monteverdi and the poetics of genre after Orfeo /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579964151&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Chiarelli, Francesca. "'Il Lume Rinchiuso' The poetics of the 'seconda prattica' Monteverdi's fifth, sixth and seventh books of madrigals." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307643.

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3

Hafar, Matthew Alan. "The psalmody of Monteverdi : choral settings of the vesper psalms CX and CXI." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/6031.

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4

Weaver, Jamie. ""Del vario stile in cui piango e ragiono" : a study of compositional ethics in Florence and northern Italy during the early seventeenth century /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1288647861&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. "Suggestions for performance practice": leaves 209-230. Includes bibliographical references (leaves 251-270). Also available for download via the World Wide Web; free to University of Oregon users.
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5

Mihelcic, Sonja. "Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues." Thesis, connect to online resource, 2001. http://www.library.unt.edu/theses/open/20012/mihelcic%5Fsonja/index.htm.

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6

Sulpício, Carlos Afonso [UNESP]. "Transformação e formação da técnica do trompete: de Monteverdi a Stockhaunsen." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103395.

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Made available in DSpace on 2014-06-11T19:32:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-13Bitstream added on 2014-06-13T20:23:50Z : No. of bitstreams: 1 sulpicio_ca_dr_ia.pdf: 7470036 bytes, checksum: 2fbae8d3ec3077336f3d5bf6542ea06f (MD5)<br>Esta tese tem como objetivo traçar um panorama histórico sobre a evolução da técnica do trompete percorrendo uma linha cronológica que parte de Monteverdi e chega a Stockhausen com enfoque na relação compositor/instrumento/instrumentista. Inicialmente, apresentamos uma breve abordagem dos primórdios do trompete e apontamos a importânci
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7

Küster, Konrad. "«Doppelmotivik»: Textinterpretation und musikalische Form. Überlegungen an Monteverdi-Madrigalen mit und ohne Generalbaß." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37092.

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8

Koldau, Linda Marie. "“Divino Claudio” oder Komponist seiner Zeit? Claudio Monteverdis Dixit Dominus-Vertonungen und die Entwicklung des concertato-Stils um die Mitte des Seicento." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36699.

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9

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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10

Zduniak, Maria. "Novitäten im Breslauer Stadttheater: Richard Strauss - Salome (1906), Claudio Monteverdi - L''Orfeo (1913), Ludomir Różycki Eros und Psyche (1917)." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 136-145, 1998. https://ul.qucosa.de/id/qucosa%3A15459.

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Am Anfang des 20. Jahrhunderts zählte das Breslauer Stadttheater, obwohl mit nur einer kleinen Orchester-Besetzung ausgestattet, zu den bemerkenswerten europäischen Opernbühnen. Es war aufgeschlossen für musikalische Novitäten. Als Beweis dafür sind u.a. die Breslauer Premieren Salome (1906) von Richard Strauss, L\''Orfeo (1913) von Claudio Monteverdi und die Uraufführung der Oper Eros und Psyche (1917) von Ludomir Różycki zu nennen.
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11

Rocha, Abel Luis Bernardo da. "Estudo da dramaturgia musical em L'Orfeo, de Claudio Monteverdi, realizado a partir da linguagem tonal do compositor : uma proposta de orquestração moderna como recurso dramaturgico." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284714.

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Acompanha 1 anexo: L'Orfeo favola in musica, de Claudio Monteverdi<br>Orientador: Eduardo Augusto Ostergen<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T16:57:48Z (GMT). No. of bitstreams: 1 Rocha_AbelLuisBernardoda_D.pdf: 9114279 bytes, checksum: 2529bd2853d709dbe5436634ed75c5ab (MD5) Previous issue date: 2008<br>Resumo: Este trabalho tem por objetivo apresentar a realização de uma PARTITURA CONTEMPORÂNEA DE EXECUÇÃO da ópera L'Orfeo - Favola in Musica, de Claudio Monteverdi, composta em 1607, apresentada aqui como uma
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12

Stasi, Marcello. "Palavra, harmonia e o platonismo ficiano na monodia dramatica da seconda pratica." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284713.

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Orientador: Helena Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T16:53:49Z (GMT). No. of bitstreams: 1 Stasi_Marcello_D.pdf: 6885248 bytes, checksum: 72213b5ac92bccddfffe802d422af700 (MD5) Previous issue date: 2009<br>Resumo: Esta pesquisa teve por finalidade investigar a relação entre palavra e harmonia no repertório das monodias dramáticas da seconda pratica. Após considerar a alternativa da aplicação da doutrina do ethos associado ao modo, e examinar as implicações dos conceitos de pathos, mutatio e hexachordum,
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13

Hagen, Emily. "Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-1658." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157551/.

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Although early Venetian operas by composers such as Claudio Monteverdi and Francesco Cavalli offer today's listeners profound moments of emotion, the complex codes of meaning connecting emotion (or affect) with music in this repertoire are different from those of later seventeenth-century operatic repertoire. The specific textual and musical markers that librettists and composers used to indicate individual emotions in these operas were historically and culturally contingent, and many scholars thus consider them to be inaccessible to listeners today. This dissertation demonstrates a new analyt
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14

Kroupová, Sylvie. "Řeč hudby: Claudio Monteverdi jako průkopník moderní práce s textem." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-326635.

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TITLE: THE LANGUAGE OF MUSIC: Claudio Monteverdi as an innovator in the field of dealing with text in music. SUMMARY: The main topic of this Thesis is Claudio Monteverdi's work and its importance for the development of dealing with text in music of the late Renaissance and early Baroque period. In Monteverdi's compositions we can follow the evolution of counterpoint techniques reaching from the traditional 16th century vocal polyphony to the purely monodic approach to composition that is typical of Baroque music. The text works as a creative element that affects the author's way of working, le
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15

Huang, Huai-hsuan, and 黃懷萱. "Claudio Monteverdi''s L''Orfeo：Study on Orchestration, Musical Genres and Musical Tension." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/5t6znv.

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碩士<br>國立臺北藝術大學<br>音樂學系碩士在職專班<br>97<br>The Greek myth Orpheus was the classical inspiration adopted in literature and Arts at various times.Claudio Monteverdi''s L''Orfeo has long been regarded as the significant masterpiece in the history of opera.By analyzing the understanding of the drama of Orpheus，the thesis is to explore Monteverdi''s musical tension through the orchestration, musical genres and the structure of Golden Section in L''Orfeo.
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16

Belt, Chelsey. "Choirboy-instrumentalists in late sixteenth-century Italy: The Church as an early source of professional string players." Thesis, 2015. https://hdl.handle.net/2144/16302.

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Over the course of the development of the violin and viol families between the second half of the sixteenth century and the first decades of the seventeenth century, players of these instruments did not conform to the existing roles for professional instrumentalists established by wind consorts and other civic musicians. In determining the early sources of professional players of bowed strings, the contexts in which choirboys and young church musicians came to study instrumental music as well as the functions of the ensembles, repertoires, and instruments illuminate the output of the subsequen
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17

Pérsico, Gabriel. "La música poética en la ejecución historicista contemporánea." Doctoral thesis, 2019. http://hdl.handle.net/11086/14985.

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el proyecto de investigación propuso como hipótesis responder a las siguientes preguntas: ¿es posible configurar un análisis retórico-musical suficientemente sistemático para abordar el repertorio anterior al clasicismo? este análisis basado en las premisas de la musica poetica, además de posibilitar una mejor compresión de dicho repertorio ¿admite una hermenéutica no normativa en función de una praxis interpretativa? ¿puede el análisis retórico-musical ser útil para la interpretación actual del repertorio histórico, inserto en la complejidad de la praxis musical actual? la hipótesis presu
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18

Svoboda, Čeněk. "Srovnávací analýza interpretace s důrazem na historický kontext a autentičnost provedení díla: rozbor různých realizací díla Claudia Monteverdiho "Vespro della Beata vergine" (1610)." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-287366.

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In my dissertation I'm working at the work of art made by Claudio Monteverdi (1567 - 1643) and also comparing three different interpretations of his masterpiece Vespro delta beata Vergine. He wrote this composition in 1610 and so came to a new quality not only for himself and his musical progress, but also for whole musical history. We can say that his Vespro is the first important sacred baroque composition. The comparing is not the only intention for me, I would like to discribe also composers personality in context of musical history and answer some principal question about the problem of "
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