Dissertations / Theses on the topic 'Madrigale'

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

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

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

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.

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.

Sigismondo D’India (1582 ?-1629 ?), contemporain de Claudio Monteverdi, est un compositeur parmi les plus importants du début du XVIIe siècle : l’un des pères fondateurs de la musique moderne. La présente thèse entend le situer dans un contexte qui nécessite d’être rappelé et mis à jour, celui de la cour de Turin où le musicien s’est établi de 1611 à 1623, période la plus fructueuse de sa carrière musicale dont l’étude s’organise autour de trois problématiques : la musique, le mécénat et l’identité nobiliaire.Il s’agit, dans un premier temps, d’étudier la circulation des musiciens, artistes, imprimeurs et sources musicales mais également d’analyser certaines œuvres du compositeur. Ainsi, D’India, chanteur, guitariste, compositeur et poète, apparaît comme l’un des musiciens les plus audacieux et les plus singuliers de son temps.Le mécénat artistique accompagne sa carrière musicale : il favorise ses déplacements, relie les différentes villes où se trouvent le musicien et ses dédicataires et facilite l’émulation créatrice. L’étude du mécénat à travers sa production musicale dévoile notamment la multiplicité des rapports entre D’India et ses dédicataires. Enfin, par identité nobiliaire, nous entendons étudier la manière dont le compositeur contribue à la construction de l’identité culturelle d’une cour en même temps qu’il construit son propre statut de noble. L’identité nobiliaire peut être ainsi considérée comme un préalable à l’identité nationale. Nous voulons par ailleurs montrer que D’India remplit parfaitement le rôle de musicien-Gentilhomme et que sa musique participe à la construction d’un modèle d’urbanité
Sigismondo D’India, (1582? -1629?) a contemporary of Claudio Monteverdi, was one of the major composers of the early XVIIth century and one of the founding fathers of modern music. This thesis aims at setting him against a background which requires some reminiscing and updating, that of the court of Turin, where the musician settled between 1611 and 1623. It was the most fruitful period of his musical career, the study of which addresses three issues: music, patronage and nobiliary identity.I shall first study the movements of musicians, artists, printers and musical sources, and shall analyse besides some works by the composer. It appears that Sigismondo D’India, together a singer, a guitar-Player, a composer and a poet, stands out as one of the boldest and the most idiosyncratic musicians of his days.His musical career goes hand in hand with artistic patronage, which made his travelling easier, connected the various cities accommodating the musician and his dedicatees and facilitated creative emulation. The study of patronage through D’India’s creativity in music points out, among other things, the numerous relationships between him and his dedicatees.Finally, through the notion of nobiliary identity, I shall focus on the way in which the composer contributed to building up the cultural identity of a court while building up his own status as a nobleman. The nobiliary identity can thus be considered a first step toward national identity. I also aim at showing that D’India was perfectly up to the role of gentleman-Musician, and that his music contributed to building a model of urbanity

The Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.

This dissertation discusses the sixty-six chansons and two madrigals of Dominique Phinot ( fl. c. 1510 - c. 1556). These works are worthy of study in their own right. In addition, many contain innovatory elements which are historically significant. The dissertation is divided into six parts containing in total eleven chapters. Part A ( Chapter 1) summarizes Phinot's career and oeuvre, drawing upon both fact and speculation. Part B ( Chapters 2-6) deals with Phinot's four-voice non-canonic chansons, which are grouped according to the structures of their poetic texts. Chapters 2, 3 and 4 discuss, respectively, the quatrain, huitain and dizain settings, the largest and most important categories. A miscellaneous group of settings, whose texts comprise the cinquain 'D'estre amoureux', two sizains, three septains and the irregularly structured 'Lynote', is examined in Chapter 5. Chapter 6 assess three settings whose texts are translations by Jean Martin of poems by Pietro Bembo. The six canonic chansons, which include the eight-in-four setting of 'A dieu, Loyse', are discussed in Part C ( Chapter 7). Part D is divided between an introduction to Phinot's double-choir style in the context of early sixteenth-century sacred polychoral composition ( Chapter 8) and an examination of his three double-choir chansons ( Chapter 9). Part E ( Chapter 10) is devoted to the two madrigals. Part F ( Chapter 11) summarizes the essential features of Phinot's chansons and madrigals and evaluates their historical significance. A bibliography, copies of primary source documents and transcriptions of selected poetic texts are included in the Appendix.

In Venice in the mid-sixteenth-century, the madrigal was emerging as the highest musical expression of poetry. One of the foremost composers of this new genre was Adrian Willaert. The madrigals contained in his Musica nova for many are the pinnacle of the Italian madrigal. It has been suggested that Willaert's settings of Petrarch's poetry in this collection may have been influenced by the writings of Pietro Bembo, who was active in Venice in the first half of the sixteenth-century. It has also been suggested that Willaert used a compositional tool called motivicity in many of his works. The purpose of this study is to determine whether or not Willaert used motivicity as a method of composition in order to highlight the principles put forward by Pietro Bembo for Petrarch's sonnets. The results demonstrate that while in some madrigals it does appear that Willaert used motivicity in order to adhere to Bembist ideals, it was not always a determining factor.

Thesis (M.A.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Music." Discipline: Music; Department/School: Music.

Don Carlo Gesualdo, Prince of Venosa, (1566–1613) is celebrated for his idiosyncratic use of chromaticism. Yet, the harmony of Gesualdo's madrigals evades modal rules and his chromatic style has perplexed analysts. This thesis reappraises the modal and chromatic features in his madrigals and expands on their significance by employing pitch-class set theory analysis to enhance a more traditional modal approach. Whilst analysis of the music through modal features and pitch-class set theory may appear to use contradictory analytical methods, the two can complement each other through the recognition of certain interval patterns regarded as significant by cinquecento music theorists. Ultimately, this analytical technique provides a language with which to articulate the modal and chromatic processes occurring in his music. In order to consolidate the results of the analyses, elements of compositional process are delineated and explored in the dissection of the madrigal '"Io parto" e non più dissi.'

Evalúa la geodinámica del deslizamiento que afecta la localidad de Madrigal en el departamento de Arequipa y su probable reactivación de gran magnitud. Evalúa el comportamiento del suelo-subsuelo mediante estudios geofísicos en el área del deslizamiento y el grado de estabilidad actual del deslizamiento mediante métodos geodésicos y geotécnicos (ensayos de mecánica de suelos). Realiza un modelamiento geotécnico mediante el uso de elementos finitos que permitan conocer las zonas con mayor probabilidad de ser afectadas por el deslizamiento en el corto y mediano plazo. Desarrolla una propuesta de tratamiento de mitigación o minimización del peligro de deslizamiento para reducir la vulnerabilidad física de Madrigal mediante el drenaje de coronación de 500 m a la altura de la cota 3290 m, un relleno estabilizador a la altura del pie de la escarpa principal (cota 3090 m) y una estructura de sostenimiento tipo gaviones en la parte baja. En la parte media se ubicarán banquetas con sistema de drenaje para disminuir la carga hidráulica.
Tesis

The history of the madrigal in England is a significant one, traversing the final decades of the 16th century to the present day; as a vehicle for music, the madrigal has been an inspiration to composers and singers alike. This thesis surveys the revival of interest in the madrigal from the early 18th century to the mid-19th century; it investigates the madrigal's resurrection through a seminal period of English musical history, and examines its rise in artistic and social contexts where nexuses are established with the Gothic Revival and the re-accommodation, from the late-18th century onwards, of Roman Catholicism in England. The examination of contemporaneous newspapers, musical journals, minute books and other operational apparatus that relate to both metropolitan and provincial madrigal societies has not only revealed how extensive are the existing archives, but has also allowed in-depth investigation and discussion of their meaning and impact. A core group of five antiquarians is also examined: Sir John Leman Rogers (1780-1847), William Hawes (1785-1846), Edward Taylor (1784-1863), Thomas Oliphant (1799-1873), and James Turle(1802-1882). These men were brought together by their fascination for old music under the aegis of the Madrigal Society (whose continuous existence of over 270 years makes it the oldest music-performing society today); they saw themselves as restorers of a long-lost national heritage, and as advocates of a return to excellence in musical composition. The composer Robert Lucas Pearsall (1795-1856), the most prolific of madrigal writers in the 19th-century, was caught up in the tide of the five men's work; the outcome was his production of some of the most exquisite vocal writing of his century. All six of these men are discussed in detail within the thesis. The end of this thesis gathers together the evidence examined, and arrives at the conclusion that despite the consistently small circle of amateurs and connoisseurs for whom madrigal singing was an interest and pastime in the 18th and early 19th centuries, their efforts nurtured and sustained the madrigal, and promoted it as a patriotic emblem of musical achievement. In so doing, they laid the foundation for a second wave of interest that rose again in the early 20th century, and established firmly the madrigal as a constituent part of English musical ipseity.

Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.

This thesis describes the importance of the amateur academy as a centre for the consumption of both literary and musical works in cinquecento Italy. By occupying a middle space between the public and private spheres, the cultural environment of the academy lends itself particularly well to the practice of analytical "readings" of texts through music. In their musical lezioni of selections from Ariosto's chivalric epic Orlando furioso, Jachet de Berchem, Vincenzo Ruffo, and Jan Nasco show themselves to be concerned with many of the same issues as contemporary literary critics (the explication of imagery and metaphor), but at the same time they also create complex emotional and psychological readings of the subjectivities of the poem's central characters in a manner that lay outside the scope of the writings of Ariosto's contemporary commentators. The association of all three composers and their music with the Accademia Filarmonica di Verona thus suggests that composers indeed had an important rôle to play in academic discussions of literary æsthetics, and that the madrigal can be seen as a form of literary criticism that preserves some aspects of academic discourse that have otherwise been lost. My analysis, in turn, represents a new way to interpret madrigals and draw meaning from them in the context of this discourse.
Cette thèse décrit l'importance des académies amateures en tant que lieu de consommation d'œuvres musicales et littéraires dans l'Italie du cinquecento. En se positionnant entre les sphères publiques et privées, l'environnement culturel des académies fut très propice à la « lecture » analytique de textes par la musique. Lors de lezioni musicales d'extraits de l'épopée chevaleresque Orlando furioso d'Arioste, Jachet de Berchem, Vincenzo Ruffo et Jan Nasco se montrèrent sensibles aux mêmes problèmes que les critiques littéraires contemporains (l'interprétation d'images et de métaphores), mais en même temps, ils ont également créé des interprétations émotionnelles et psychologiques complexes des subjectivités des personnages principaux d'une manière qui va au-delà de celle des critiques contemporains sur les écrits d'Arioste. L'association de ces trois compositeurs et leur musique avec l'Accademia Filarmonica di Verona suggère donc que les compositeurs eurent un rôle important à jouer lors de discussions académiques sur l'esthétique littéraire, et que le madrigal peut être vu comme une forme de critique littéraire préservant certains aspects du discours académique, autrement perdu. Mon analyse représente donc une nouvelle façon d'interpréter les madrigaux et interprète leur signification via le contexte de ce discours.

Claudio Monteverdi's (1567-1643) ninth book of madrigals, the Madrigali e Canzonette, was published posthumously in 1651. These accompanied madrigals are for two or three voices, and some of them were previously published in his earlier books of madrigals, though the majority were unpublished. One of the types of analyses that helps to provide a plausible rationale for many of Monteverdi's melodic and harmonic decisions within those madrigals is musico-rhetorical analysis. Analyzing a madrigal rhetorically involves attempting to identify the musical techniques that coincide with rhetorical devices in a certain text setting. Rhetorical analysis of the first eight madrigals of Claudio Monteverdi's Madrigali e Canzonnette elucidates the composer's decisions concerning both pitch content and harmonic structure, and casts new light upon his expressive intent vis-à-vis his texts.

The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche were a vital link to the future of theory. His polyphonic music and ten text underlay rules are representative of the new music of the Venetian School, which was headed by his mentor Adrian Willaert. Examination of Zarlino's thirteen extant madrigals provides us with a direct example of these rules and the secular style of the Venetian School, who strived to elevate their secular works to that of sacred music. The style was inspired by Pietro Bembo's Petrarchan revival, in which Renaissance composers utilized medieval Petrarchan texts or wrote new texts in the Petrarchan style. The texts were set to music which was composed to express the emotions of the texts. Zarlino accomplished this through the selection of major, minor, and diminished sonorities, which began the move to major-minor tonality in the history of Western music.

Le XIVe et le XVe siècle ont été particulièrement riches en recherches et en innovations musicales. Ils ont aspiré à une meilleure relation de la musique et du texte et au développement de l'expressivité. Ces conditions - liées à un nouvel intérêt pour la nature dans les arts - ont encouragé la création onomatopéique dans les pièces vocales profanes en Italie et en France. Par le rapport privilégié qu'elle impose entre les notes et les mots et par son caractère expressif, l'onomatopée a contribué à l'évolution du langage musical. La notion d'imitation apparait ici secondaire tant le choix des phonèmes relève de l'arbitraire et d'une convention respectée par tous les compositeurs. Dans les formes madrigalesques italiennes et françaises et dans la chanson au XVIe siècle, la fonction de l'onomatopée est d'abord symbolique, ludique, et correspond à la sensibilité expressive des musiciens de ce temps
The 14th and 16th centuries were particularly rich in musical research and innovation, aspiring to a closer relationship between music and lyrics, and to the development of expression. These conditions - tied to a new interest for nature in the arts - encouraged the onomatopoeic creation in Italian and French profane vocal music. By the privileged relationship it imposes between notes and words and by its expressive character, onomatopoeia contributed to the evolution of musical language. The notion of imitation appears here as being secondary, the selection of the phonemes depending mostly on an arbitrary choice and on a convention respected by all composers. In the 16th century Italian and English madrigal forms and French "chanson", onomatopoeia's function is first of all symbolic, diverting, and corresponds to the expressive sensibilities of the period's musicians

The Italian noble Carlo Gesualdo (1566–1613), Prince of Venosa and Count of Conza, is remembered in history just as much for his eventful and tormented life as he is for the richly expressive music he composed. His vengeful slaying of his first wife Donna Maria D’Avalos and her lover Fabriozo Carafa Duke of Andria is widely regarded to be one of the great murder stories of Renaissance Europe, and from it stemmed wild folklore and superstition regarding the Prince. His famously melancholic disposition, numerous romantic affairs (including one with a practicing witch), brutally masochistic behaviors, and turbulent relationship with his Catholic faith only helped solidify his place as among the most notorious and fascinating nobles of his day. As for his music, his six books of Madrigals and other assorted religious works brought Renaissance compositional styles to their ultimate finale with their groundbreaking use of chromaticism, highly complex counterpoint, and expressive figures. But another part of this extraordinary life is all too often overlooked—his encounters with the hidden mysteries of the occult. The historical evidence for such involvement is well-documented on a number of fronts. However, any connections or influence this may have had regarding his music have gone largely unexplored.

The goal of this project report is to explore direct relations between Gesualdo’s music and the occult, specifically relating to Tarot, Hermeticism, and Catholic theology. This can be achieved through analysis of his choices in counterpoint, melodic structure, modulations, and text setting, all relating directly to the symbolism contained in an altarpiece in his personal chapel, Il Perdono di Gesualdo. By doing so one may divulge the esoteric mysteries connected in the mind responsible for, arguably, among the most revolutionary western music of the time.

La thèse se propose d'examiner la période centrale de la production madrigalesque du compositeur franco flamand Giovanni de Macque, en prenant en considération cinq ouvrages publiés par l'auteur entre 1581 et 1597. L'analyse du corpus y est envisagée par le biais de deux notions en usage dans la littérature musicale de l'époque et utilisées par Macque lui-même dans l'une de ses lettres de dédicace : l'ariosità et l'artificiosità. Cette perspective analytique consent ainsi d'interroger un aspect particulièrement significatif du répertoire vocal profane italien des deux dernières décennies du Cinquecento : la fusion de la simplicité et du savant, de la légèreté et de la complexité, le mélange des genres et des registres stylistiques. La thèse est articulée selon un parcours chronologique, qui met en évidence les différentes phases du développement stylistique de Macque pendant la période considérée. Après une introduction contextualisante, chaque partie prend en examen les trois paramètres d'écriture suivants : les choix poétiques, le recours à certaines techniques musicales déterminées et enfin, la représentation musicale du texte poétique. L'édition et la traduction des textes poétiques mis en musique, la transcription de deux recueils du corpus ainsi que la traduction de la correspondance du compositeur font l'objet d'un tome d'annexes
The thesis investigates the central period of the madrigalian output of Franco-Flemish composer Giovanni de Macque by considering five works published by de Macque between 1581 and 1597. The analysis of this corpus is based on two notions that were current in musical literature of the era and used by Macque himself in a dedicatory letter : ariosità and artificiosità. This analytical approach highlights one of the most significant aspects of profane vocal music in late Italian Cinquecento : the merging of simplicity and erudition, of lightness and complexity, of genres and stylistic registers. The thesis follows a chronological division which underlines the different phases of Macque's stylistic evolution during the period under consideration. After a contextualizing introduction, each section explores the three following issues: poetic choices, recourse to determinate musical techniques, and musical representation of the poetic text. The edition and the French translation of the poetic texts, the transcription of two books of the corpus and the translation of the composer's correspondence are located in the appendix
La tesi verte sull'analisi del periodo centrale della produzione madrigalistica del compositore franco fiammingo Giovanni de Macque, prendendo in considerazione cinque stampe, pubblicate tra il 1581 e il 1597. Il corpus viene valutato attraverso due nozioni utilizzate nella letteratura e nella trattistica musicale coeva, e dallo stesso Macque in una sua lettera dedicatoria : l'ariosità e l'artificiosità. Questa prospettiva analitica consente di esaminare un aspetto particolarmente significativo del repertorio vocale profano italiano degli ultimi decenni del Cinquecento : l'avvicinamento della scrittura sapiente alla leggerezza, l'accostamento della complessità alla semplicità, nonché la mescolanza di generi e di registri stilistici. La tesi segue un percorso cronologico che vuole individuare le fasi successive dello sviluppo stilistico di Macque durante il periodo preso in considerazione. Un'introduzione apre ogni singola parte con lo scopo di contestualizzare l'opera. L'analisi si concentra poi su tre parametri fondamentali della scrittura madrigalistica : le scelte poetiche, il ricorso a determinate tecniche compositive, ed infine la rappresentazione musicale del testo poetico. I testi poetici e la loro traduzione in francese, la trascrizione del Secondo libro de madrigali a cinque voci e del Terzo libro de madrigali a cinque voci, e la corrispondenza del compositore tradotta in francese sono riuniti in un volume di appendici

Reproduction de : Thèse de doctorat : Musicologie : Paris 4 : 2007. Reproduction de : Thèse de doctorat : Musicologie : Université de Bologne : 2007.
Titre provenant de l'écran-titre. Bibliogr. p. 636-663.

La bibliographie sur la polyphonie profane italienne des XVIe et XVIIe siècles, qui décrit aussi le répertoire des éditions de plusieurs auteurs (par rapport à des livres d'un seul compositeur) est restée jusqu'à aujourd'hui la moins connue, la moins cataloguée et la moins mise à jour malgré les efforts des nombreux chercheurs talentueux. Reléguée à une section secondaire du «Vecchio Vogel» (1892) et révisé avec autorité par Alfred Einstein (1962), sa complexité variée a été éludée par la musicologie systématique, avec quelques exceptions rares, mais partielles (Lincoln, Lewis Bernstein.) Le Nuovo Vogel (1977), qui avait prudemment évité ce vaste répertoire 'collectif', non sans certaines inclusions incorrectes (Balbi, Barré, Doni etc.), n’a toujours pas été mis à jour, plus de 35 ans après sa sortie. Même le grand effort de catalogage RISM (B/I) ne donne aucune garantie d'exhaustivité ni d’utilité suffisante, car il n’affronte pas de manière systématique, par exemple, les problèmes de l'anonymat de plus de mille pièces, ou ce ‘Di incerto autore’ dispersé dans l'histoire de la musique vocale imprimée au Renaissance. Cela signifie qu'à ce jour, le savant qui veut examiner consciemment la genèse, le mouvement et la documentation historique de première main sur une pièce donnée, ou sur les madrigaux d'un livre collectif (que par souci de concision, nous avons défini UBI) doit feuilleter un répertoire de plus de huit mille textes de madrigaux. (UBI et uesi sont des néologismes pour décrire le répertoire que nous étudions). De nombreuses études, bien que limitées à certains livres, ont documenté la richesse musicale, littéraire, linguistique, géographique et professionnelle de ce grand répertoire de pièces de musique, ressentant le besoin d'un ordre plus important, sans que rien de tel n'ait été fait. À ce besoin urgent a répondu un travail du présent auteur consacré à l'indexation complète des livres, des textes, des dédicaces, des notes internes et des documents originaux que ce répertoire présente: ce nouvel outil bibliographique est appelé RIM (musique de la Renaissance italienne). La transcription intégrale de plus de 98% des textes mis en musique dans ce répertoire avec le nécessaire soutien informatisé et numérisé permet à tous ceux qui s'occupent de l'historiographie musicale italienne de la Renaissance non seulement d’identifier d'un grand nombre de pièces jusqu'aujourd'hui anonymes, mais constitue aussi un progrès dans de nombreux domaines du madrigal italien. Ce n’est qu’une fois que le RIM a été disponible qu’il a été possible de mener une enquête systématique sur l'organisation interne des UBI. Cette thèse est donc une recherche systématique sur l'organisation interne des anthologies (que l’on définit ici comme un choix de chansons déjà connues) et des edizioni collettive (à la différence des anthologies, les éditions collectives contiennent un choix de chansons originales), disposées de manière appropriée afin d'identifier et d'offrir des programmes structurés selon les intentions des coordinateurs-compilateurs, ou de celui qui signe la dédicace, ou encore des artistes qui les ont compilées dans le but d'honorer et d'illustrer leur propre communauté. Environ 150 livres étudiés nous permettent d'identifier une richesse jusque-là inconnue de propositions collectives et d'ingénieuses organisations texte-musique, qui conduisent à la fin de la période à la création du livret d'opéra ante litteram avant l'avènement même du mélodrame
The bibliography on the Italian secular polyphony of the sixteenth and seventeenth centuries, which describes the repertoire in the editions of various authors (compared to that of the books of a single composer) has remained until today the least known, the least up-to-date, despite the efforts of several talented scholars. Relegated to a secondary section from the first Vogel (1892) and authoritatively revised by Alfred Einstein (1962), it was systematically 'baffled' by the musicology due to its varied complexity, with only some rare but partial exception (Lincoln, Lewis, Bernstein). Neither the New Vogel (1977), which had prudently evaded this gigantic repertoire – apart from some strange inclusions (Balbi, Barré, Doni etc.) –, has been updated in the last 35 years. Also the huge effort of the RISM (B/I) catalogue gives no assurance of completeness or noteworthy usefulness until, for example, the problem of the over one thousand anonymous or 'Of uncertain author' songs that disseminate the history of printed vocal music of the '500 /' 600 is fully addressed. This means that to date the scholar who wants to consciously examine the genesis, the movement and the historical first-hand records on a given song, or on the songs of a collective book (which we have defined UBI for brevity) has to go through the not-indexed list of more than eight thousand songs-texts. Many studies, although limited to individual books, have documented the wealth of musical, literary, linguistic, geographical, professional proposals of this section, feeling the need of a larger organization without doing nothing to overcome this situation. The study and research of a single Italian scholar has finally remedied this binding necessity with a complete indexing of books, texts, dedications, internal notes in the books and the original documents provided by that repertory: this new bibliographical tool is called RIM (Italian Renaissance music). The full transcript of more than the 98% of the texts set to music in this repertoire, with the necessary computerized and digitized supports, allows the entire historiography on the Renaissance to progress its studies and research, not only in the identification of several hundreds of songs so far anonymous, but in many fields of the entire historiography of music in the age of the Italian madrigal. Carrying out a systematic investigation on the compilatory organization of the UBI has been possible only thanks to the availability of the RIM. This thesis therefore represents the systematic investigation on anthologies (choices of already known songs) and on edizioni collettive (collective editions are books of original songs) appropriately arranged in order to form programs and courses coherent in sense with the intentions of the coordinators, compilers-dedicators, artists who have compiled them to honour and illustrate their own community with music and poetry. About 150 books examined allow us to identify a previously unknown wealth of collective proposals and ingenious text-music organization to be seen as 'Libretto' ante litteram before the advent of melodrama
La bibliografia relativa alla polifonia profana italiana cinque/secentesca che descrive anche il repertorio contenuto nelle edizioni di vari autori (rispetto a quello dei libri di un solo compositore) è rimasta fino ad oggi la meno nota, la meno aggiornata e la meno catalogata nonostante gli sforzi di valenti studiosi. Relegata in una sezione secondaria fin dal primo Vogel (1892) e rivista autorevolmente da Alfred Einstein(1962), nella sua complessità variegata è stata ‘elusa’ sistematicamente dalla musicologia, con qualche rara ma, in ogni caso, parziale eccezione (Lincoln, Lewis, Bernstein.) Nemmeno il Nuovo Vogel (NV,1977), il quale aveva prudenzialmente eluso deliberatamente questo vasto repertorio, non senza qualche strana inclusione (Balbi, Barré, Doni ecc.), alla distanza d'un tempo pari ad un ‘mezzo cammin di nostra vita’, non è stato più aggiornato. Per analoghe ragioni l'ingente sforzo catalografico del RISM B/I non si rivela di soverchia utilità, né dà certezza di completezza, finché, per esempio, non si affronti in modo sistematico il problema degli oltre mille brani adespoti o ‘Di incerto autore’ che disseminano la storia della musica vocale profana stampata fino al 1700. Ciò significa che a tutt’oggi lo studioso che voglia esaminare coscientemente la genesi, la circolazione e la documentazione storica di prima mano su un determinato brano, (o sui brani di un libro collettivo, che per brevità abbiamo definito UBI) deve passare in rassegna l'intero repertorio non indicizzato di oltre ottomila brani/testi. (UBI e uesi sono neologismi da noi ideati, che sono discussi nel primo capitolo della tesi, funzionali a descrivere il repertorio indagato). Molti studi, ancorché limitati a singoli libri collettivi, hanno documentato la ricchezza di proposte musicali, letterarie, linguistiche, geografiche e professionali di questa sezione di repertorio vocale, segnalando la necessità di un più ampio ordinamento, senza che nulla di tutto ciò sia stato fatto. Lo studio e la ricerca di uno singolo studioso italiano ha finalmente dato una risposta - creando una base di dati, cioè uno strumento informatico - che ha, almeno in parte, sanato questa esigenza davvero inderogabile, con un’indicizzazione completa dei frontespizi, dei testi poetici, delle dediche, delle documentazioni originali e delle note interne dei libri collettivi che tale repertorio presenta: questo nuovo strumento bibliografico si chiama RIM (Rinascimento Musicale Italiano). La trascrizione integrale, con i necessari supporti informatici digitalizzati, di oltre il 98% dei testi messi in musica di questo repertorio consente all’intera storiografia musicale un sicuro progresso non solo nella migliore identificazione dei brani già noti (e soprattutto di un buon numero di anonimi), ma anche di cogliere e fornire una visione complessiva del fenomeno in numerosi campi della storiografia musicale del ’5/'600. Con il RIM è stato possibile procedere all'indagine sistematica sull'organizzazione compilativa delle singole UBI. Questa tesi è quindi l'indagine sistematica sulle anthologie (scelte di brani già noti) e sulle edizioni collettive cioè libri di brani originali, disposti in modo idoneo a costituire programmi e percorsi di senso strutturati secondo le intenzioni dei coordinatori-dedicatori, artisti che le hanno compilate con lo scopo precipuo di onorare ed illustrare la propria comunità tramite la musica e la poesia. I circa 150 libri esaminati in maniera completa ci permettono di segnalare un'ideale ricchezza di proposte collettive e di geniale organizzazione testo-musica finora sconosciuta. È un'organizzazone che si configura come 'Libretto' ante litteram di opere musicali ben prima dell'avvento stesso del melodramma

Chansons, madrigales & motetz a 3 parties of 1568 is one of two volumes that constitute the debut of Antwerp composer Noe Faignient (c.1537-1578). This musical collection (henceforth CM&M a 3) survives only in manuscript in three partbooks held at the Stifts- och Landsbiblioteket in Linkoping, Sweden and has never before appeared as a complete modern edition. Like its sister volume for 4, 5, and 6 voices, Faignient?s 3-voice collection contains French chansons, Italian madrigals, Latin motets, and Dutch liedekens. A multi-genre debut was well chosen for the diverse city of Antwerp, the center of commerce and culture in the Low Countries in the 16th century, and for international distribution in pursuit of patronage or permanent employment abroad. The commercial value of chansons, madrigals, and motets had been well established in Western Europe by this time, but liedekens did not share the international marketability of the other genres. Liedekens are included in CM&M a 3 not for commercial reasons, but as vehicles of political propaganda and expressions of national identity corresponding with the outbreak of the Dutch Revolt against Spanish rule of the Low Countries. Faignient?s posture of religious nonalignment in CM&M a 3 parallels early rebel propaganda, but also reveals the composer to be a careerist; one of many composers of his generation to separate his professional and creative activities from religion in order to serve his professional ambitions and his political ideals amid the turbulence of the Reformation.

Diss.--Phil. Fak.--Köln--Universität, 1992.
Réunit des textes de madrigaux en italien et un grand nombre d'exemples musicaux. La plupart des madrigalistes dont il est question dans ce volume sont italiens. Bibliogr. p. 159-188.

This doctoral thesis focuses on Antonio Gualtieri and his work (1574-1661). Gualtieri was a "musices magister" in San Daniele del Friuli and then in Monselice, Montagnana and Venice. After rebuilding the biography of the composer based on a systematic archival research, I transcribed in modern critical edition the corpus of his works. His entire works, as transmitted to us, are either complete or partly preserved. The critical edition is based on the identification of the sources and is accompanied by a series of analytical cards with information on the texts, music and literature. The musical intonations are transcribed in score according to current criteria: variants, omissions and changes are reported in the critical apparatus. The production of Antonio Gualtieri is fully embedded in the cultural climate of the early seventeenth century. Starting from the polychoral motets, where the influence of the prevailing masters of Padua is clear, the sacred production moves to a more modern elaborated style represented by motets of few voices and basso continuo, some of which are enriched by instruments like the violin and the trombone. Within the profane ambitus, the production of Gualtieri ranges from the simple and light song-genre (canzonetta) to the more challenging madrigals, whose hallmark remains the strong adhesion of the music to the text. The overall outcome is particularly significant because it permits us to identify the modus operandi of a composer who, trained in some of the most innovative musical circles of his time (the Cathedral of Padua and the Basilica of San Marco in Venice), he then contributed to the dissemination of the new musical language in the so-called minor centres.
Oggetto di studio della presente tesi di dottorato sono la figura e l’opera di Antonio Gualtieri (1574-1661), «musices magister» a San Daniele del Friuli e poi a Monselice, Montagnana e Venezia. Dopo aver ricostruito il profilo biografico del compositore sulla base di una sistematica ricerca d’archivio, ho trascritto in edizione critica moderna il corpus delle sue opere giunte fino a noi alcune integralmente altre solo in alcune parti. L’edizione critica si basa sulla individuazione delle fonti ed è accompagnata da una serie di schede analitiche con informazioni sui testi, sulla musica e sulla letteratura. Le intonazioni musicali sono state trascritte in partitura secondo i criteri attuali: varianti, omissioni e modifiche sono segnalate in apparato. La produzione di Antonio Gualtieri si inserisce pienamente nel clima culturale di inizio Seicento. Dai mottetti policorali, in cui è chiara l’influenza prevalente dei maestri padovani, la produzione sacra si sposta verso il più moderno stile concertato con i mottetti a poche voci e basso continuo, alcuni dei quali arricchiti da strumenti come il violino e il trombone. In ambito profano, la produzione del Gualtieri spazia dal genere semplice e leggero della canzonetta al più impegnativo madrigale il cui tratto distintivo continua a rimanere la forte aderenza della musica al testo. L’esito complessivo è particolarmente significativo, perché ha permesso di identificare il modus operandi di un compositore che, formatosi in alcuni degli ambienti musicali più innovativi del suo tempo (cattedrale di Padova e basilica di San Marco a Venezia), ha poi contribuito a diffondere il nuovo linguaggio musicale nei centri cosiddetti minori.

La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona.
The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.

La tesi propone uno studio monografico sul fiorentino Giovan Battista Strozzi il Giovane detto il Cieco (1551-1634), letterato e animatore di circoli culturali dalla Firenze medicea alla Roma barberiniana, attraverso la Milano borromaica e i cenacoli capitolini degli Aldobrandini e degli Umoristi. Nel primo dei tre capitoli che scandiscono la ricerca si è appuntata l’attenzione sulla partecipazione del Giovane alle attività di due vivaci consessi della sua città natale: l’Accademia Fiorentina e l’Accademia degli Alterati. Nel secondo è stata condotta una disamina dell’opera in versi – per la maggior parte ancora inedita – che comprende decine di epistole metriche in endecasillabi sciolti, un incompiuto poema in onore di Amerigo Vespucci, nonché un ricco corpus di madrigali, la cui stesura, nell’esperienza del Cieco, procedette di conserva con la speculazione teorica intorno alla nuova fisionomia cinquecentesca di questo antico genere lirico. La terza sezione si concentra invece sul contributo dello Strozzi alle discussioni di poetica (la ‘Commedia’ dantesca, il poema eroico, le unità aristoteliche) che accesero gli ambienti letterari italiani nella seconda metà del secolo XVI. Affiancando l’esegesi dei testi alla ricostruzione biografica – condotta su un ampio numero di documenti epistolari editi e inediti –, si è cercato di restituire il giusto spessore storico a ciascuno degli scritti presi in esame, ricostruendo i differenti contesti culturali in cui furono composti e scandagliando la fitta trama di relazioni – umane e letterarie – che si profila sullo sfondo di essi. Completano il lavoro una bibliografia delle opere antiche e moderne, un indice dei manoscritti e un indice dei nomi di persona.
The thesis proposes a monographic study on the Florentine Giovan Battista Strozzi the Younger also known as the Blind (1551-1634). He was a writer with connections in cultural circles across Renaissance Italy, including Medici’s Florence, Barberini’s Rome, Borromean Milan and the Roman cenacles of the Aldobrandini and the Humorists. The thesis consists of three chapters. The first chapter focuses on the participation of Strozzi the Younger in the activities of two lively groups in his hometown: the Florentine Academy and the Alterati Academy. The second chapter discusses his poetical works – for the most part still unpublished –, including dozens of versified epistles in loose hendecasyllables, an unfinished poem in honor of Amerigo Vespucci, as well as a rich corpus of madrigals. The drafting of this last corpus proceeded together with Strozzi the Younger’s theoretical speculation around the new sixteenth-century appearance of this ancient lyrical genre. The third section considers the contribution of Strozzi the Younger to the discussions on poetics (Dante’s ‘Comedy’, the heroic poem, the Aristotelian units) that went on in Italian literary circles in the second half of the sixteenth century. In this work, we aimed to restore the appropriate historical depth to each of the writings examined, through the exegesis of texts combined with the biographical reconstruction conducted on a large number of published and unpublished epistolary documents. We also tried to reconstruct the different cultural contexts in which these writings were composed and attempted to analyze the dense network of relationships, both human and literary, that loomed in the background. The thesis is completed by a bibliography of ancient and modern works, an index of manuscripts and an index of names.

Orientador: Carlos Fernando Fiorini
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Os seis livros de madrigais italianos compostos por Carlo Gesualdo apresentam uma estreita relação entre a música e o texto. A manipulação efetuada pelo compositor nos poemas que seriam base para suas peças evidencia sua busca por um determinado formato de texto. Através da observação destas alterações, foi possível caracterizar seu ideal poético e relacioná-lo diretamente com a sua concepção musical, objetivando um entendimento mais abrangente da expressividade deste conjunto de obras. Para che-gar a este resultado, foram realizados estudos da contextualização histórica, concen-trados na cidade de Ferrara e na sua importância dentro da obra deste compositor; do Maneirismo artístico e sua relação com o madrigal italiano tardio, e dos vários aspectos da sua escrita musical. Como forma de confrontar estas informações, realizou-se uma análise da relação texto/música sobre dois termos poéticos ¿ amor e morte ¿ através da qual foi possível concluir como se deu o amadurecimento da escrita do compositor e a relevância de seu ideal poético como ferramenta interpretativa
Abstract: The six Italian madrigals books of Carlo Gesualdo present a close connection between music and text. The manipulation made by the composer in the poems that would serve as basis for his music evidences his search for a certain text format. Through the anal-ysis of these changes it was possible to characterize his poetic ideal and relate it direct-ly to his musical conception, aiming a more comprehensive understanding of the ex-pression of this group of works. To reach this result, the historical context was studied, especially the one of the city of Ferrara and its importance in the work of this composer. Also, the various aspects of his musical writing, the Mannerism and its relation to the late Italian madrigal were approached. In order to confront this information, it was done an analysis of the relation text / music on two poetic terms - love and death - through which we concluded how was the maturing process of the composer¿s writing, and the relevance of his poetic ideal as an interpretive tool
Doutorado
Praticas Interpretativas
Doutor em Música

Cette thèse examine le langage musical des madrigaux tardifs (à partir de 1550), à quatre et à cinq voix de Cyprien de Rore, par une analyse méthodique utilisant les théories musicales de l'époque. La première partie résume l'ensemble de la théorie musicale ayant rapport au madrigal, en particulier les istitutioni harmoniche de Gioseffe Zarlino. Les quatre chapitres traitent respectivement de la mélodie, de l'harmonie, du mode et de la mise en musique des textes, format qui reflète l'organisation des traités théoriques de l'époque. La deuxième partie, divisée en cinq chapitres, consiste en un examen minutieux des madrigaux des cinq derniers recueils de Cyprien, en commençant par le premier livre à quatre voix de 1550, et en concluant avec les deux recueils posthumes. Les madrigaux sont analysés suivant le format de la première partie, à l'aide des points d'analyse qui y ont été relevés. L'analyse révèle les détails des techniques de composition qui caractérisent l'œuvre de Cyprien, et elle montre les développements plus généraux dans le langage musical d'un des plus grands compositeurs de l'époque, à une période centrale dans l'histoire du madrigal italien.

Nous avons entrepris une exploration socio-historico-anthropologique de la periode d'elaboration des langages artistiques "baroques", recourant aux metalangues et aux textes de l'epoque. L'homme baroque (le courtisan), en pleine contre reforme, etait en "representation" sous le regard du prince, des clercs et de ses pairs. Il devait maitriser son affectivite par une connaissance de lui-meme (de son "ame"). Il etait tiraille entre une raison propre a lui assurer le salut, et une imagination capable de dechainer en lui des passions (concupiscibles, faibles et tolerees, ou irascibles, menant a la perdition). Le prince poursuivait au travers des representations artistiques un projet "civilisateur", destine a amender les murs. Dans le souci de preserver son pouvoir et sa dynastie, la paix civile et l'harmonie sociale, il proposait a ses sujets des "fetes" ludiques et "purgatives", et a ses courtisans (ses "rivaux" en puissance), des representations artistiques visant une "domestication" de leurs "pulsions". Les arts ont su repondre a ses attentes. Prenant en compte l'homme dans toutes les composantes de son ame, ils ont fait uvrer en lui, alors reconciliees, les passions et la raison, temoignant d'une haute pensee de l'homme. Le "madrigale" polyphonique, poursuivant ces objectifs dans une "langue" mathematique ("l'harmonie universelle") etait disqualifie quant a l'expression "convenante" des passions. Le modele monodique "grec" s'etait impose donnant naissance a la "monodie accompagnee par une basse continue". La musique s'etait donnee les moyens de realiser les fins du prince et ses fins propres par la "mimesis" des processus cognitifs et pathetiques, la mise en uvre de la "sprezzatura" et le statut nouveau accorde a l'interprete. Elle a su alors exprimer les "grandes passions" et a pu "penser" les grandes formes. Giulio caccini et claudio monteverdi furent les createurs les plus marquants du temps tant sur le plan langagier que formel
We have undertaken to explore, from a social, historical and anthropological point of view, the period of time in which the "baroque" languages of the arts were elaborated by resorting to the metalanguages and the texts of the time. In the very middle of counter reformation, the baroque man -the courtier- was "performing an act" under the eyes of the prince, the clerics and his peers. He had to control his affectivity by knowing himself, i. E. His "soul". He was torn between a reason able to ensure his salvation and an imagination capable of unleashing passions within him -be they concupiscible, weak and as such admitted, or irascible and leading to perdition. By dint of artistic presentations, the prince carried on a civilizing purpose, meant for reforming the manners. With a view to preserving his power and his dynasty, civil peace and social harmony, he offered his subjects diverting and purgative "entertainments" and his courtiers -his potential rivalsartistic presentations aiming at domesticating their pulsions. Arts were then able to achieve his goals. Taking man into account, with all the parts of his soul, they had passions and reason working together, reconciled in the process and showing a noble view of man. The polyphonic "madrigale", pursuing these objectives in a "mathematic language" -"universal harmony"-, was not qualified to express passions in a convenient way. The "greek" monodic model had imposed itself, giving birth to "monody on a thorough bass". Music had given itself the means to achieve the prince's and its own goals, through the "mimesis" of cognitive and pathetic processes, the working out of the "sprezzatura" and the new status attributed to the interpreter. Music was then able to express "great passions" and "conceive" great forms. Giulio caccini and claudio monteverdi were the most prominent creative composers of the time, from both the point of view of language and of form

A new type of viol consort fantasy emerged about the beginning of the seventeenth century and lasted until its virtual demise after the death of William Lawes in 1645. This thesis shows that this fantasy was distinct from Elizabethan forms and that it evolved from the late sixteenth-century Italian polyphonic madrigal and canzonetta.;The aim of this thesis is to show how the late sixteenth-century Italian madrigal influenced stylistic elements of the early Jacobean viol consort fantasy. This entails a detailed study of early seventeenth-century documents (manuscripts, etc.) to show how and why stylistic similarities between the two genres came about. This is demonstrated by examining in two ways the music of possibly the earliest composers of the medium - Thomas Lupo and, in particular, John Coprario - whose fantasies shaped all subsequent efforts. Firstly, it is shown that the repertory of music circles at the late Elizabethan and early Jacobean court and contemporary viol consort circles (with which both composers would have been most closely associated) was dominated by late sixteenth-century Italian madrigals and related forms. By examining viol consort manuscripts which contain textless Italian madrigals and seventeenth-century English fantasies and by compiling a complex of late Elizabethan and Jacobean court-related manuscripts, it can be shown that viol consort players mostly gained their copies of Italian madrigals from courtly circles. All these manuscripts are dominated by canzonetta-madrigals and seconda pratica madrigals. Secondly, an examination of the music of Coprario and Lupo, particularly their use of parody, shows how they assimilated these twin influences of the canzonetta-madrigal and seconda pratica madrigal to form a new rhetorical style of fantasy. This thesis also shows how, in the hands of Alfonso Ferrabosco II, the fantasy loses its vocal associations to become an independent instrumental genre, both in form and style.