Relevant bibliographies by topics / Madrigale

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Madrigale'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Madrigale.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Madrigale"

1

Küster, Konrad. "Schütz' Madrigale in der zeitgenössischen italienischen Musikkultur." Schütz-Jahrbuch 26 (August 24, 2017): 71–88. http://dx.doi.org/10.13141/sjb.v2004944.

Full text
Abstract:
Heinrich Schütz gilt in seiner Madrigalkonzeption als konservativ, weil er bei Giovanni Gabrieli nicht das moderne konzertierende Madrigal kennen gelernt habe. Madrigale in kleinen Besetzungen waren jedoch um 1610 in Italien noch nicht üblich; und die Texte, die Schütz wählte, legten auch noch länger eine mehrstimmige Vertonung nahe. Eine Durchsicht der Parallelvertonungen zeigt zudem, dass keine Sammlung erhalten ist, die ihm mehrfach als satztechnisches Vorbild gedient hätte; auch die Madrigale von Ascanio Mayone zeigen ein anderes (und dabei konventionelleres) Bild. Das durch Schütz repräsentierte Madrigalverständnis wurde also in Italien erst wenig später überwunden. (Autor) Quelle: Bibliographie des Musikschrifttums online
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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 Musikschrifttums online)
APA, Harvard, Vancouver, ISO, and other styles
3

Versace, Stefano. "Decifrare il Madrigale di Leopardi." ENTHYMEMA, no. 29 (July 15, 2022): 1–15. http://dx.doi.org/10.54103/2037-2426/18307.

Full text
Abstract:
Il saggio indaga una lirica di Leopardi, il Madrigale, inedita in vita, e ritrovata su un’unico foglio tra gli autografi delle carte napoletane. La breve lirica appare in due versioni, con alcuni versi varianti riportati in fondo all’autografo. Se dal punto di vista filologico è evidente che la versione posteriore sia la seconda, non è chiaro cosa esattamente la distingua dalla prima. Il mio argomento è che i testi del Madrigale sono distinti per alcune strutture poetiche (lo schema del fraseggio prosodico, la struttura metrica di un verso variante, e la distribuzione dei pronomi personali nel testo), che sono definite solo nella seconda versione. Dopo aver proposto un’analisi di queste strutture nel Madrigale, discuto criticamente alcuni fondamenti dell’approccio strutturale al testo poetico. Di qui lascio infine emergere una lettura che connette l’analisi strutturale all’estetica sociologica, e all’antropologia letteralmente decifrando la natura di ‘Dinggedichtnegativo’ del Madrigale
APA, Harvard, Vancouver, ISO, and other styles
4

Cavallini, Ivano. "La diffusione del madrigale in Istria: I Casentini e Gabriello Puliti." Musicological Annual 23, no. 1 (December 1, 1987): 39–70. http://dx.doi.org/10.4312/mz.23.1.39-70.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Schiltz, Katelijne. "Mäzenatentum und Selbstdarstellung in Exil." Die Musikforschung 56, no. 1 (September 22, 2021): 46–53. http://dx.doi.org/10.52412/mf.2003.h1.701.

Full text
Abstract:
Während der 1530er und 1540er Jahre wirkten die Florentiner fuorusciti Neri Capponi und Ruberto Strozzi in ihrem venezianischen Exil als Mäzene der Musik. Silvestro Ganassi dal Fontego widmete ihnen seine "Regola Rubertina" (1542-43), Antonfrancesco Doni lobte Capponis ausgezeichneten Geschmack in seinem "Dialogo della musica" (1544), und Girolamo Parabosco widmete Strozzi sein Buch fünfstimmiger Madrigale (1546). Beide fuorusciti hatten ein besonderes Interesse an der Musik Adrian Willaerts; dies geht unter anderem aus den Texten Ganassis und Donis hervor. Zum Beispiel entstand Willaerts berühmteste Sammlung "Musica Nova" (1558-59) in den Kreisen dieser Florentiner Patrizier. Das Exilthema wird in dieser Sammlung von Motetten und Madrigalen jedoch nie explizit behandelt. Musik scheint den fuorusciti eher dazu gedient zu haben, ihre eigene Position und ihr Image als mächtige Politiker zu bestätigen und zu verstärken.
APA, Harvard, Vancouver, ISO, and other styles
6

von Fischer, Kurt. "Zur musikalischen Gliederung einiger zweistimmigen Trecento-Madrigale." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 42 (1988): 19. http://dx.doi.org/10.2307/3687102.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Carapezza, Paolo Emilio. "Schützens Italienische Madrigale: Textwahl und stilistische Beziehungen." Schütz-Jahrbuch 1 (August 18, 2017): 44–62. http://dx.doi.org/10.13141/sjb.v1979627.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Braun, Werner. "Schütz als Kompostitionslehrer : Die 'Geistliche Madrigale' (1619) von Gabriel Mölich." Schütz-Jahrbuch 7 (August 18, 2017): 69–92. http://dx.doi.org/10.13141/sjb.v1986690.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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 theologian Cherubino Ferrari in Monteverdi’s Il quinto libro de madrigali a cinque voci (1605). Although one might dismiss them as mere “occasional” poetry flattering Artusi, on the one hand, and Monteverdi, on the other, as well as their respective patrons, close reading suggests that these encomia represent attempts to claim the high ground not just on musical but also on philosophical and even religious terms. Ferrari’s praise of the composer finds a clear echo in Alessandro Striggio the Younger’s libretto for Monteverdi’s opera Orfeo (1607). All this provides an intriguing footnote, and perhaps something more, both to the controversy over the seconda pratica madrigal and to Orfeo in their broader Ferrarese and Mantuan contexts.
APA, Harvard, Vancouver, ISO, and other styles
10

Galavotti, Jacopo. "Sintassi e retorica tra sonetto e madrigale nelle "Rime" di Luigi Groto." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 1, no. 9 (2017): 224–36. http://dx.doi.org/10.24917/20837275.9.1.20.

Full text
Abstract:
Abstrakt L’articolo analizza alcuni aspetti della prima parte delle Rime di Luigi Groto Cieco d’Adria (1541–1585), uno dei più interessanti poeti del manierismo letterario veneziano. Attraverso l’analisi del rapporto tra metrica e sintassi, l’autore descrive affinità e differenze tra madrigali e sonetti. I madrigali sono più improntati alla ricerca del concettismo, mentre i sonetti sono caratterizzati da artifici retorici geometrici. Questi due differenti stili fanno entrambi parte di un generale ripensamento del petrarchismo. Składnia i retoryka między sonetem i madrygałem w "Rime" Luigiego Groto Artykuł analizuje wybrane aspekty pierwszej części Rime autorstwa Luigiego Groto Cieco d’Adria (1541–1585), jednego z najbardziej interesujących poetów weneckiego manieryzmu literackiego. Poprzez analizę relacji między metrum a składnią autor opisuje podobieństwa i różnice między madrygałami i sonetami. Madrygały wyróżnia w większym stopniu cechujący je konceptyzm podczas gdy sonety charakteryzują się przewagą geometrycznych figur retorycznych. Oba style zaklasyfikować można jako trendy nawiązujące do petrarkizmu.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Madrigale"

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Granese, Egidio. "Nuovi percorsi esegetici tassiani." Doctoral thesis, Universita degli studi di Salerno, 2019. http://elea.unisa.it:8080/xmlui/handle/10556/4249.

Full text
Abstract:
2017 - 2018
The PhD thesis, New Taxi Exegetical Pathways, deals first of all with the arrangement and study of bibliographic material, which was necessary for the drafting of the research project, not only in the Library and the journal fund of the University of Salerno, but also in the Vatican Apostolic Library and in the Library of the "Centro di Studi Tassiani" of Bergamo. The retrieval of these texts was fundamental for the articulation of the structure of work, which presents as an introductory part the variegated framework of poetic production, particularly lyrical, of the 16th century, with precise references to the history, forms and canons of the madrigal, from the first to the late Renaissance. The poetic motifs inspired by the Neoplatonic conception of beauty have also been investigated, compared with the topical elements of the Italian poetic tradition and merged with some fundamental themes, such as the multiformity, the mutability and the multiplicity of the manifestations of beauty, components emblematically embodied by the god Proteus , a key figure in the entire series of madrigals, so congenial to the poetics of Tasso as to inform numerous areas of his entire production. The texts have been explored, from a methodological point of view, according to a dynamic dimension, bringing into dialogue both the previous textual history with the provisional manuscript crystallization, and the subsequent one. Moreover, this optic was useful both for the data relating to the structure and for those relating to the revision process, especially to describe how the first lines originally represent some of the peculiarities of the wider taxi-opera lyrical laboratory... [edited by Author]
XXXI ciclo
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Simon, Robert C. "The Madrigal Compositions of Bohuslav Martinů." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1212767642.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
Orientador(a): Marcos Fernandes Pupo Nogueira
Banca: Mônica Isabel Lucas
Banca: Achille Guido Picchi
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 substrato para as composições da época, buscando formas de identificar gravità e piacevolezza, categorias poéticas criadas por ele, no texto e música
Abstract: It is considered that the ideas of Pietro Bembo, one of the most important figures in the italian literary scene of the XVI century, played an important role in the music of his time, specially in the development of the italian madrigal, musical genre that began to employ poems of high literary value written in the vernacular language, especially the vulgar Florentine. Therefore, this study seeks to inquire in what ways and to what extent Pietro Bembo's ideas may have been basis for the compositions of his time, seeking tools to identify gravità and piacevolezza, poetic categories created by him, in text and music
Mestre
APA, Harvard, Vancouver, ISO, and other styles
6

Malhomme, Florence. "Pour une poétique du madrigal tardif : à travers les cinq livres de madrigaux à cinq voix de Luca Marenzio (1580-1599)." Paris 4, 1997. http://www.theses.fr/1997PA040002.

Full text
Abstract:
Le madrigal ne nous livre plus aussi spontanément ses clés qu'il le faisait à l'homme de la Renaissance. Le monde poétique qu'il met en scène ne nous est plus familier et chacun de ses constituants musicaux a besoin d'être replacé en contexte et redéfini. Dans la Ière partie, "de la prééminence du modèle verbal", nous avons d'abord étudié la place du texte, d'après les traités d'art poétique (chap. I), puis d'après ceux de théorie musicale (chap. Ii). Nous avons ensuite analysé les poésies illustrées par Marenzio, en considérant les poètes (chap. III), et les formes (chap. IV), ce qui nous a permis de comprendre la position du madrigaliste face au matériau poétique. Dans la IIe partie, "de l'utilisation expressive des moyens musicaux", nous avons analysé l'ensemble des moyens musicaux mis en œuvre pour illustrer ce matériau : les modes (chap. V), les consonances et les dissonances (chap. VI), les genres diatonique, chromatique et enharmonique (chap. VII), le contrepoint (chap. VIII), et le rythme (chap. IX). La IIIe partie, "de l'éloquence des moyens rhétoriques", a étudié les interdépendances entre texte et musique, en montrant les liens rhétoriques qui les unissent étroitement au profit d'une illustration toujours plus poussée des affetti. L'importance de la rhétorique dans la pensée musicale humaniste a tout d'abord été montrée dans le chapitre X "rhétorique et musique au XVIe siècle" alors que les éléments de la rhétorique musicale tels qu'ils furent employés dans le répertoire polyphonique renaissant et théorisés a posteriori par Burmeister dans sa Musica poetica (1606) ont été présentés dans le chapitre XI. Le chapitre XII a étudié l'adaptation de ces éléments au genre madrigalesque, à travers l'œuvre de Marenzio. En conclusion, nous avons tenté de replacer le madrigal tardif au sein de l'esthétique de la fin du XVIe siècle, fondée sur le concept aristotélicien de mimesis et sur les définitions du beau, du plaisir, et de l'artifice qu'il induit
The madrigal no longer delivers us as spontaneously its keys as it made it to the man of the Renaissance. The poetical world that it puts in scene is no longer familiar to us and each of its musical constituents needs to be replaced in context and redefined. In the first part, "about the pre-eminence of the verbal model", we have first studied the place of the text, according to poetical art treaties (chap. I), then according to musical theory ones (chap. II). We have then analyzed poetries illustrated by Marenzio, taking into account poets (chap. III), and forms (chap. IV), which has allowed us to understand the position of the madrigalist facing the poetical material. In the second part," about the expressive utilization of musical ways", we have analyzed the totality of musical ways implemented to illustrate this material: the modes (chap. V), the consonances and dissonances (chap. VI), the diatonic, chromatic and enharmonic genders (chap. VII), the counterpoint (chap. VIII), and the rhythm (chap. IX). The third part, "about the eloquence of rhetorical ways", has studied interdependences between text and music, by showing rhetorical bonds that unite them closely to the profit of an illustration always more elaborate of the affetti. The importance of the rhetoric in the humanistic musical thought has first of all been shown in chapter X "rhetoric and music in the XVIth century" while elements of the musical rhetoric such as they were employed in the polyphonic repertory of the renaissance and theorized a posteriori by Burmeister in its Musica poetica (1606) have been presented in chapter XI. Chapter XII has studied the adaptation of these elements to the madrigal gender, through the work of Marenzio. In conclusion, we have attempted to replace the late madrigal within the esthetics of the end of the XVIth century, based on the Aristotelian concept of mimesis and on definitions of the beautiful, the pleasure, and the artifice that it induces
APA, Harvard, Vancouver, ISO, and other styles
7

Swift, Olivia Giselle. "Creating the Modern Madrigal: Bringing the Madrigal into the Twenty-First Century." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/21151.

Full text
Abstract:
This study explores the concept of what constitutes a contemporary madrigal, and how this is inspired by and relates to the Renaissance form of the madrigal. Specifically, it aims to create an updated, more accurate definition of the madrigal than the one currently present in the literature; one that considers twentieth and twenty-first century examples of madrigals in addition to the traditional Renaissance form. The main characteristics of the contemporary madrigal are determined via a historical comparative analysis of contemporary case studies to the Renaissance madrigal, and the design of my own original madrigals acting as a model of the form. It provides a survey of the following works: • George Crumb’s Madrigals Book I • Morten Lauridsen’s Madrigali: Six ‘Fire Songs’ on Italian Renaissance Poems • György Ligeti’s Nonsense Madrigals • Gavin Bryars’ Second book of madrigals • Joshua Shank’s Colour Madrigals It is determined that the most important elements of the madrigal are the secular nature of the text, and the expression of this text; the structure of the madrigal as through composed songs published in unified sets called books; and the madrigal’s intention as music of an educated society, blending a variety of musical textures. By reframing the elements of the madrigal in a contemporary context, it enables tremendous scope for composers to explore this form in a spirit of renewal. I have used both the historical precedents and the contemporary examples as a spring-board for my own creative response. I demonstrate the contemporary relevance of the madrigal through the composition of two books of madrigals that incorporate aspects of both the Renaissance madrigals and elements of the contemporary case studies. These new books of madrigals can be used as a model demonstrating the features of this form, in which an updated definition is clearly represented. Far from being an anachronism, the madrigal is a genre full of life and potential for contemporary exploration.
APA, Harvard, Vancouver, ISO, and other styles
8

Almeida, Vicente Casanova de. "Monteverdi e o Stile Concitato: uma poética guerreira no oitavo livro de Madrigais de 1638." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-10112014-144929/.

Full text
Abstract:
Este trabalho apresenta uma investigação acerca do Oitavo Livro de Madrigais de 1638, de Claudio Monteverdi (1567-1643), obra oferecida à Sacra e Cesárea Majestade Imperador Ferdinando III, ascensionado ao trono máximo do Ocidente em 1637. São delineados o contexto histórico que envolve a obra bem como questões relativas à publicação e dedicatória da coleção de madrigais. É apresentada também uma análise de seu prefácio segundo preceptivas retóricas do gênero demonstrativo ou epidíctico que revelam chaves discursivas e importantes e tópoi que são substanciais para o entendimento da questão ética e patética em música. Tais questões incidem diretamente nas diretrizes performáticas previstas por Monteverdi para realização do stile concitato, procedimento musical encontrado nos Madrigali Guerrieri. Também é realizada uma exegese do textos poéticos dos madrigais onde é revelada a figuração do Eros guerreiro e militante contemplado nas elegias de Propércio e Ovídio bem como nos livros de emblemas amatórios do XVI XVII. Por último, procura-se demonstrar que o stile concitato e seus procedimentos peculiares são dispositivos de ornato dos afetos sugeridos pelos textos dos madrigais, manejados habilmente na música do compositor.
The present work is an investigation about Claudio Monteverdi\'s (1567-1643) Eight Book of Madrigals of 1638, offered to the Sacre and Cesarean Majesty of the Emperor Ferdinand III, ascended to the Ocident high throne in the year 1637. We trace the work historical context and the questions about its publication and dedicatory. We present an analysis of its preface according to the rethoric prescriptions of the demonstrative or epidictic genre which reveals significant discoursive keys and tópoi to the comprehension of the ethical and pathetical matter in music. These questions directly affect Monteverdi\'s performatic guidelines in his stile concitato, a musical procedure found inside the Madrigali Guerrieri. We also do an exegesis of the poetic texts of the madrigals where is revealed the warrior and militant Eros figuration conceived in Propertius and Ovid\'s elegies as well as in the amatory emblem books of XVI and XVII centuries. Finally, we intend to demonstrate that the stile concitato and its procedures are embellishment devices of the affects of the poetic texts in the madrigals, artfully managed in the composer music.
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Mabbett, Margaret Anne. "The Italian madrigal, 1620-1655." Thesis, King's College London (University of London), 1989. https://kclpure.kcl.ac.uk/portal/en/theses/the-italian-madrigal-16201655(1a1a776e-79dc-42ba-a961-49c9c43ff270).html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Madrigale"

1

Alberico, Giulia. Madrigale. Palermo: Sellerio, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Massini, Filippo. Il madrigale. Urbino: Argalìa, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Martino, Daniele. Madrigale: 1983-1987. Siena: Quaderni di Barbablu, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Martino, Daniele A. Madrigale, 1983-1987. Siena: [s.n.], 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hermsdorf, Dieter. Die Madrigale Jacobus Arcadelts. Saarbrücken: SDV, Saarbrücker Druckerei und Verlag, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sandro, Massimo Di. Il madrigale: Introduzione all'analisi. Napoli: Arte tipografica, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sandro, Massimo Di. Il madrigale: Introduzione all'analisi. Napoli: Arte tipografica, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Thiemann, Beate. Die Madrigale von Francesco Corteccia. Marburg: Tectum Verlag, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Falcone, Achille. Madrigale, mottetti e ricecari: (1603). Firenze: L. S. Olschki, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

1948-, Fabbri Paolo, ed. Il madrigale tra Cinque e Seicento. Bologna: Società editrice il Mulino, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Madrigale"

1

Schmalzriedt, Siegfried. "Philippe de Montes geistliche Madrigale Vorrei l’orecchia haver und Amor alza le voci." In Die Wiener Hofmusikkapelle III, 57–72. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791423.57.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Coluzzi, Seth J. "Reading the Madrigal." In Guarini's 'Il pastor fido' and the Madrigal, 12–34. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315463056-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Santoyo, Julio-Cesar. "Alonso de Madrigal." In History and Historiography of Linguistics, 219. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.51.1.25san.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hose, Duncan. "Frank O’Hara: Myth as Madrigal." In The Pursuit of Myth in the Poetry of Frank O'Hara, Ted Berrigan and John Forbes, 31–83. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-94841-2_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Amato, Lorenzo. "Le serie di madrigali alla Strozzi." In Bibliologia, 187–99. Turnhout, Belgium: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.bib-eb.5.117241.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Coluzzi, Seth J. "From Poetic Monster to Raccolta di madrigali." In Guarini's 'Il pastor fido' and the Madrigal, 111–54. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315463056-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Traub, Andreas. "Zum Madrigale II im Glasklängespiel." In Sándor Veress, 178–84. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967073904-178.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

"CHAPTER TEN. The "Madrigale Arioso": A Mid-Century Development in the Cinquecento Madrigal." In The Science and Art of Renaissance Music, 222–38. Princeton: Princeton University Press, 1998. http://dx.doi.org/10.1515/9781400864713.222.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"MONTEVERDI AND THE “MADRIGALE CONCERTATO”—THE END." In The Italian Madrigal, 850–72. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctvhhhdvr.12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Palestrina, Serafino Razzi und das zweite Buch geistlicher Madrigale." In Kirchenmusikalisches Jahrbuch - 95. Jahrgang 2011, 9–28. Verlag Ferdinand Schöningh, 2013. http://dx.doi.org/10.30965/9783657775712_003.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Madrigale"

1

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

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. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11404.

Full text
Abstract:
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 this strategy was the medieval one: to defend the Kingdom, it would have been enough to defend the Royal Cities of Cagliari and Alghero. Instead, starting from the Parliament wanted in 1558 by Philip II and summoned by the viceroy Alvaro de Madrigal, attention is also paid to the defense of the coastal perimeter of the whole island. In this Parliament, convened with the sole purpose of providing for the defense of the Kingdom against the looming Franc-Turkish threat, the foundations are laid for the reorganization of the administrative apparatus of the Kingdom, limiting the centrifugal tendencies of local feudalism; but above all, they are laid the foundations for the creation of a homogeneous defense system, abandoning the extemporaneous initiatives taken up to that time. By the end of the century, reports for the construction of a static defense system will be commissioned and the Royal Administration of Towers will be established, with the task of building, arming and maintaining the static defense system.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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 recaídas en el consumo de sustancias (Martínez-González, Albein-Urios, Lozano-Rojas y Verdejo-García, 2014). Objetivos: Estudiar en una muestra de 1335 pacientes con patología dual las diferencias en la recaída en el consumo de sustancias durante los 5 años posteriores al tratamiento según el tipo de diagnóstico mental asociado al TUS, el policonsumo y el tipo de sustancia principal consumida. Material y método: Se seleccionaron los pacientes que presentaban patología dual al inicio del tratamiento en una Unidad de Conductas Adictivas ambulatoria. Se realiza revisión de las historias clínicas para obtener los datos. Conclusiones: No existen diferencias significativas entre las diferentes sustancias, la mitad de los consumidores recaen en el con sumo durante los siguientes 5 años posteriores al tratamiento (p=0,645). Las categorías diagnósticas que con mayor frecuencia se relacionan con la recaída son los trastornos de personalidad, los trastornos psicóticos, los trastornos de ansiedad y los trastornos afectivos (P=0,011). Las categorías diagnósticas que con mayor frecuencia se asocian al policonsumo son los trastornos de personalidad y los trastornos de ansiedad (p=0.000). Las sustancias que con mayor frecuencia se asocian al policonsumo son la cocaína y los opioides (p=0.000). A mayor número de sustancias consumidas, mayor porcentaje de casos recae en el consumo durante los siguientes 5 años (p=0.000).
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Madrigale' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography