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Journal articles on the topic 'Italian Baroque'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Smith, Richard Langham, Biondi, Naddeo, Alessandri, and Rinalo Alessandri. "Italian Italian Baroque." Musical Times 133, no. 1796 (October 1992): 528. http://dx.doi.org/10.2307/1002725.

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2

Frampton, Andrew, Anita Hardeman, Ginte Medzvieckaite, Helen Roberts, Elizabeth Rouget, Stephan Schönlau, and Hannah Spracklan-Holl. "Italian Baroque." Early Music 46, no. 4 (November 2018): 708–11. http://dx.doi.org/10.1093/em/cay084.

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3

Stowell, Robin. "Italian Baroque Violin." Musical Times 128, no. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965436.

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4

Talbot, Michael. "Italian Baroque music." Early Music 47, no. 2 (April 9, 2019): 275–77. http://dx.doi.org/10.1093/em/caz032.

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5

Roche, E. "Italian Baroque sacred music." Early Music 36, no. 4 (November 1, 2008): 650–53. http://dx.doi.org/10.1093/em/can101.

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6

Maunder, R. "Italian Baroque instrumental music." Early Music 37, no. 4 (November 1, 2009): 689–91. http://dx.doi.org/10.1093/em/cap099.

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7

Fedchuk, Dmitry A. "Italian baroque opera and event." Journal of Integrative Cultural Studies 1, no. 2 (2019): 164–70. http://dx.doi.org/10.33910/2687-1262-2019-1-2-164-170.

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8

Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 1988): 528. http://dx.doi.org/10.2307/3051184.

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9

Toniolo, L., C. Colombo, S. Bruni, P. Fermo, A. Casoli, G. Palla, and C. L. Bianchi. "Gilded Stuccoes of the Italian Baroque." Studies in Conservation 43, no. 4 (1998): 201. http://dx.doi.org/10.2307/1506729.

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10

Selfridge-Field, Eleanor. "Italian oratorio and the Baroque Orchestra." Early Music XVI, no. 4 (November 1988): 506–13. http://dx.doi.org/10.1093/earlyj/xvi.4.506.

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11

Toniolo, L., C. Colombo, S. Bruni, P. Fermo, A. Casoli, G. Palla, and C. L. Bianchi. "Gilded stuccoes of the Italian baroque." Studies in Conservation 43, no. 4 (January 1998): 201–8. http://dx.doi.org/10.1179/sic.1998.43.4.201.

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12

Giselbrecht, E. "Finding the voice of the Italian Baroque." Early Music 40, no. 1 (February 1, 2012): 142–45. http://dx.doi.org/10.1093/em/cas002.

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13

Thompson, Shirley. "French Baroque—with a hint of Italian." Early Music 44, no. 1 (February 2016): 178–80. http://dx.doi.org/10.1093/em/caw022.

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14

Baniulytė, Aušra. "Italian Intrigue in the Baltic: Myth, Faith, and Politics in the Age of Baroque." Journal of Early Modern History 16, no. 1 (2012): 23–52. http://dx.doi.org/10.1163/157006512x622058.

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Abstract This article examines the role of myth in Italian cultural politics in the Baltic region during the Baroque era. A special focus for this analysis is the legend about a “kinship” between the Florentine Pazzi family and the Lithuanian noble family of the Pacas (Polish: Pac), known in the sources of the seventeenth century as “the Pazzi in Lithuania.” This legend prevailed particularly in the second half of the Baroque period, having developed under the influence of different political, religious, and social aspects of Baroque culture. It played an important part in the Papacy’s interes

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15

Park, Moonjung. "The Italian Baroque Aesthetics in Tale of Tales." Journal of East-West Comparative Literature 50 (December 31, 2019): 111–29. http://dx.doi.org/10.29324/jewcl.2019.12.50.111.

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16

Yücetoker, İzzet. "Pedagogical Analysis of the Baroque Period Piano Repertoire: Example of Italy." International Education Studies 14, no. 11 (October 27, 2021): 19. http://dx.doi.org/10.5539/ies.v14n11p19.

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The aim of this study is to access editions of Italian Baroque works in place; to examine the availability of these works in terms of gaining techniques for playing in piano education, to gain new works aimed at different pedagogical stages in the field and to acquire new but unknown works in piano education repertoire. This research was carried out with the literature review model. During the first three months of the research, 158 baroque period composers were found among 2173 Italian composers. 50 composers composing on keyboard instruments were reached among 158 baroque composers. For this

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17

Pichugina, Olga K. "DEVELOPMENT OF IMITATION METHODS IN THE PAINTING PRACTICE OF THE 16th-17th CENTURY ITALIAN MASTERS." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 18. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-18.

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The article explores the imitation methods in Italian Renaissance and Baroque painting, which were widespread in the forms of copying, replication, compilation and imitation. Italian art inherited the practice of imitation from the era of Antiquity and the Middle Ages. It was the basis of apprenticeship and organization of work in art studios. Model imitation and, at the same time, search for stylistic originality from the second half of the 15th century led to the spreading of replication, compilation, imitation and emulation techniques. The practice of imitation was continued by the 17th cen

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18

Hansen, Niels Chr, Makiko Sadakata, and Marcus Pearce. "Nonlinear Changes in the Rhythm of European Art Music." Music Perception 33, no. 4 (April 1, 2016): 414–31. http://dx.doi.org/10.1525/mp.2016.33.4.414.

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Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel polynomial modelling procedures, we demonstrate

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19

Pawłowska, Maja. "Peut-on reconstruire le sens d’une oeuvre littéraire ? Edward Porębowicz, Jan Andrzej Morsztyn et la poésie française." Romanica Wratislaviensia 69 (November 29, 2022): 173–82. http://dx.doi.org/10.19195/0557-2665.69.15.

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Edward Porębowicz in a study Andrzej Morsztyn, przedstawiciel baroku w poezji polskiej (1893), gives new meaning to Morsztyn’s work, demonstrating that his poems are not part of the romantic aesthetic but they fully belong to the baroque current. Thus, Porębowicz proves that one can reconstruct the meaning of a literary work. However, a very wide erudition and general knowledge of culture are necessary. The critic succeeded in rectifying the erroneous interpretation of Morsztyn’s poetry, then prevailing, thanks to his competent and rigorous comparative proofreading of ancient Greek, Latin as w

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20

Bauer, George C. "Review: Italian Baroque and Rococo Architecture by John Varriano." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 183–84. http://dx.doi.org/10.2307/990189.

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21

Posner, Donald, Elizabeth Cropper, and Charles Dempsey. "On the State of Research in Italian Baroque Art." Art Bulletin 70, no. 1 (March 1988): 138. http://dx.doi.org/10.2307/3051160.

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22

Underwood, Kent, Tharald Borgir, and Nigel North. "The Performance of Basso Continuo in Italian Baroque Music." Notes 45, no. 3 (March 1989): 502. http://dx.doi.org/10.2307/940803.

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23

Pericolo, Lorenzo. "Statuino:An Undercurrent of Anticlassicism in Italian Baroque Art Theory." Art History 38, no. 5 (September 2, 2015): 862–89. http://dx.doi.org/10.1111/1467-8365.12187.

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24

Paulicelli, Eugenia. "Fashion, Gender and Cultural Anxiety in Italian Baroque Literature." Romance Notes 50, no. 1 (2010): 35–46. http://dx.doi.org/10.1353/rmc.2010.0027.

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25

Jonathan Nauman. "Herbert and Monteverdi: Sacred Echo and the Italian Baroque." George Herbert Journal 30, no. 1-2 (2008): 96–108. http://dx.doi.org/10.1353/ghj.0.0006.

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26

Cottini, Luca. "D’Annunzio, Bernini, and the Baroque prelude of Il Piacere." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 5, 2017): 335–55. http://dx.doi.org/10.1177/0014585817698396.

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This essay investigates the early rediscovery of Bernini and the Roman Baroque in D’Annunzio’s Il piacere. Starting from the analysis of the few explicit textual references and the many implicit allusions to the Baroque artist in the novel, the present study documents Bernini’s impact on Sperelli’s persona, poetic method, and artistic projects. At the same time, based on the protagonist’s radical re-evaluation of Bernini—after two centuries of critical dismissal—this article also sheds light on the deep and substantial relationship connecting the Roman Baroque and D’Annunzio’s aesthetics. The

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27

Darie, Laurenţiu. "German Musical Baroque, a mini European Union avant la lettre: the bassoon concerto." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 187–95. http://dx.doi.org/10.2478/ajm-2021-0010.

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Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear

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28

Tao, Lin. "Research on the Notation of French Guitar and Lute in the Renaissance and Baroque Periods." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 195. http://dx.doi.org/10.32629/asc.v3i2.916.

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After the long and dark Middle Ages, Europe ushered in the Renaissance of ideological and cultural prosperity. Under the influence of humanism, secular music began to be valued and some church music also began to be secularized, and thus the guitar instrument ushered in its first heyday. With the development of instrumental music, a notation method, which is suitable for musical instruments, gradually began to appear, also known as "sign spectrum". Besides, guitar instruments use a lot of musical notation. Even in the baroque period when the staff is mature, some French lute and baroque guitar

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29

Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso

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30

Termini, Olga. "The Role of Diction and Gesture in Italian Baroque opera." Performance Practice Review 6, no. 2 (1993): 146–57. http://dx.doi.org/10.5642/perfpr.199306.02.07.

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31

Pesce, Sara. "The Baroque imagination: Film, costume design and Italian high fashion." Film, Fashion & Consumption 5, no. 1 (August 1, 2016): 7–28. http://dx.doi.org/10.1386/ffc.5.1.7_1.

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32

Sally Quin. "Italian Women Artists from Renaissance to Baroque (review)." Parergon 25, no. 1 (2008): 217–19. http://dx.doi.org/10.1353/pgn.0.0048.

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33

Goldstein, Carl. "Rhetoric and Art History in the Italian Renaissance and Baroque." Art Bulletin 73, no. 4 (December 1991): 641. http://dx.doi.org/10.2307/3045834.

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34

Brown, Douglas. "Italian Baroque Sculpture98338B. Boucher. Italian Baroque Sculpture. London: Thames & Hudson 1998. 224 pp, ISBN: 0 500 20307 5 £7.95 World of Art series." Reference Reviews 12, no. 6 (June 1998): 36–37. http://dx.doi.org/10.1108/rr.1998.12.6.36.338.

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35

Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.

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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic?

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36

Neuman, Robert. "Robert de Cotte and the Baroque Ecclesiastical Façade in France." Journal of the Society of Architectural Historians 44, no. 3 (October 1, 1985): 250–65. http://dx.doi.org/10.2307/990075.

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The façade of St. Roch, Paris (erected 1736-1738), the last major work by Robert de Cotte, is often viewed as anomalous in an oeuvre devoted almost exclusively to the design of secular buildings. However, the recent discovery in Paris of certain drawings and related documents from de Cotte's studio (Bibliothèque Nationale; Archives Nationales; Bibliothèque de l'Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical façade throughout his career, although only a few of the commissions were actually carried out. The various solutions, while rooted in French tradi

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37

Stanga, C., H. Hasníková, R. Brumana, A. Grimoldi, and F. Banfi. "GEOMETRIC PRIMITIVES ASSESSING ITALIAN-CZECH VAULT CONSTRUCTION TECHNIQUES IN BAROQUE PERIOD." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 1081–88. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-1081-2019.

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<p><strong>Abstract.</strong> The developments of the latest technology in the field of Digital Cultural Heritage (DCH) are revolutionizing the methods of surveying, representing and managing the built heritage. The integrated use of 3D survey instruments such as laser scanning, digital photogrammetry and the new holistic way to represent the architecture, based on the Building Information Modeling (BIM), allows the collection, analysis and archiving of a large amount of data, by increasing information sharing among a great number of experts involved during the life cycle of

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38

Walden, Daniel K. S. "Expanding the conversation: new recordings of Italian Baroque and galant repertory." Early Music 46, no. 3 (August 2018): 535–38. http://dx.doi.org/10.1093/em/cay057.

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39

Schweitzer, Claudia. "Study on French Baroque singing by accent and intonation segmentation." Journal of Speech Sciences 7, no. 2 (September 20, 2019): 09–30. http://dx.doi.org/10.20396/joss.v7i2.15003.

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The baroque music is modelled on the language, so the claim of the composers of the time and the report of the musicians and musicologists of today. It is thus national because it always refers to a specific language. Typically, we consider as a proof the work of the composer Jean-Baptiste Lully who, as the saying goes, would have formed his recitatives according to the declamation of the actress Champmeslé. Starting from a specific linguistic material, Baroque music is national: it is French, Italian, German, English ... Numerous studies, in particular musicological, have shown the treatment

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40

Rubini, Rocco. "The Vichian Resurrection of Commedia dell’Arte: Michelet, Sand, and De Sanctis." Quaderni d'italianistica 37, no. 2 (January 27, 2018): 49–74. http://dx.doi.org/10.33137/q.i..v37i2.29228.

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This essay seeks to reconnect two intellectual events of major import in nineteenth-century France: Jules Michelet’s “rediscovery” of Giambattista Vico as a viable source for a critical review of modernity’s task and the scholarly, artistic, and moral accreditation of commedia dell’arte, something inaugurated by George and Maurice Sand in their landmark Masques at bouffons (1860). Together, I contend, these scholarly events mark turning points in the romantic revision of the Renaissance, Baroque, and Enlightenment legacies. In the first section of this essay, I examine Michelet’s Vichian obses

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41

WEBSTER, JAMES. "THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?" Eighteenth Century Music 1, no. 1 (March 2004): 47–60. http://dx.doi.org/10.1017/s147857060400003x.

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Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did th

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42

ffolliott, Sheila, and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." Woman's Art Journal 12, no. 1 (1991): 41. http://dx.doi.org/10.2307/1358189.

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43

Loh, Maria H. "New and Improved: Repetition as Originality in Italian Baroque Practice and Theory." Art Bulletin 86, no. 3 (September 2004): 477. http://dx.doi.org/10.2307/4134443.

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44

Goldberg, Edward L., and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." American Historical Review 96, no. 2 (April 1991): 547. http://dx.doi.org/10.2307/2163330.

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45

Even, Yael, and Mary D. Garrard. "Artemisia Gentileschi; The Image of the Female Hero in Italian Baroque Art." Sixteenth Century Journal 20, no. 2 (1989): 337. http://dx.doi.org/10.2307/2540692.

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46

Pollock, Griselda, and Mary D. Garrard. "Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art." Art Bulletin 72, no. 3 (September 1990): 499. http://dx.doi.org/10.2307/3045754.

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47

Vădeanu, Ina. "„Maestri muratori” și constructori transilvăneni, în cadrul programului arhitectural al „Episcopiei Greco-Catolice Gherla”, în perioada 1853-1918." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 39–66. http://dx.doi.org/10.24193/subbhistart.2020.03.

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"“Maestri muratori” and Transylvanian builders, within the architectural program of the “Greek Catholic Episcopate Gherla” between 1853 and 1918. In the second half of the 19th century, in Transylvania there was a demand for specialized labor, on construction sites such as the construction of railways, the construction of roads and bridges for which Italians came from areas with a recognized constructive tradition, such as those in the Trentino area, are encouraged and supported by the Austrian administration to emigrate. The Italian emigrants in Transylvania, mostly working in the field of co

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48

Musatova, Tatyana. "Emperor Nicholas I, collector and philanthropist. Days 9/22 and 10/23 December 1845 in Bologna." Stephanos Peer reviewed multilanguage scientific journal 54, no. 4 (July 31, 2022): 50–67. http://dx.doi.org/10.24249/2309-9917-2022-54-4-50-67.

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Bologna with its eldest university in Europe was an important point of Emperor Nicholas I’s grand tour of Italy in 1845. In Rome the tsar talked with the Pope on problems of inter-church relations, then the rest of the time in the eternal city and along the entire route (from Palermo to Naples, from Florence to Bologna and Venice) he showed himself as a prominent collector, patron of the arts, who adopted his parents love for Italian art. The tsar had a special reverence for the Bologna painting school, the Bolognese Baroque style, which, along with the Roman Baroque, was refl ected in his pur

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49

Kouria, Aphrodite. "Secular painting in the Ionian islands and Italian art: Aspects of a multi-faceted relationship." Historical Review/La Revue Historique 13 (February 24, 2017): 29. http://dx.doi.org/10.12681/hr.11555.

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The contribution of Italian art, especially Venetian, was decisive to the secularisation of art in the Ionian Islands and the shaping of the so-called Ionian School, in the context of a broader Western influence affecting all aspects of life and culture, especially on the islands of Zakynthos and Corfu. Italian influences, mainly of Renaissance, Mannerism and Baroque art, can be identified both on the iconographic and the stylistic level of artworks, with theoretical support. This article explores facets of the dialogue of secular painting in the Ionian with Italian art in the eighteenth and n

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50

Noyes, Ruth Sargent, and Rūstis Kamuntavičius. "The Paracca Family of Architects and Druja Synagogue: Magnate Patrons and Jewish Clients of Eighteenth-century “Vilnius Baroque”." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 25–59. http://dx.doi.org/10.3828/aj.2021.17.3.

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This article explores Jews’ role in mediating artistic exchange between Italy and the Polish-Lithuanian Commonwealth in the eighteenth century, through a case study examining the cultural and historical context surrounding the construction of the Druja synagogue (ca. 1765-1766) by the Paracca family of immigrant Italian architects and masons, for the burgeoning Jewish community affiliated with the region’s reigning noble families. The article explores the circumstances surrounding the Druja synagogue as a manifestation of the so-called “Vilnius Baroque” school of late Baroque-Rococo architectu

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