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Journal articles on the topic 'Madrigale'
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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.
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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
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.
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Die Passion Christi ist eines der wichtigen poetischen Themen des italienischen geistlichen Madrigals. Auf Grundlage von Kompositionen von Lamberto Courtois, Gasparo Costa und Giovanni Giacomo Gastoldi (RISM 1563/7, RISM C 4218 und RISM 1598/6), die zwischen 1563 und 1598 gedruckt wurden, werden verschiedene Möglichkeiten, die Thematik textlich zu verarbeiten, dargestellt. Damit verbunden ist die Frage, in welcher Weise diese geistlichen Madrigale an einen spezifischen Kontext gebunden sind, gerade in Hinblick auf ihre Veröffentlichungsform. (Übersetzung, englische Vorlage: Bibliographie des Musikschrifttums online)
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Versace, Stefano. "Decifrare il Madrigale di Leopardi." ENTHYMEMA, no. 29 (July 15, 2022): 1–15. http://dx.doi.org/10.54103/2037-2426/18307.
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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
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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.
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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.
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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.
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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.
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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.
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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.
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Carter, Tim. "Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy." Journal of Musicology 29, no. 4 (2012): 461–76. http://dx.doi.org/10.1525/jm.2012.29.4.461.
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The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and 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.
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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.
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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.
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Gallo, F. Alberto. "Critica della tradizione e storia del testo. Seminario su un madrigale trecentesco." Acta Musicologica 59, no. 1 (January 1987): 36. http://dx.doi.org/10.2307/932863.
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Sýkora, Pavel. "Notes on the style and spiritual categorisation of Moralia by Jacobus Handl Gallus." Musicological Annual 44, no. 2 (December 1, 2008): 29–38. http://dx.doi.org/10.4312/mz.44.2.29-38.
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Toward the end of his life, Jacobus Handl-Gallus (1550-1591) wrote two books of madrigals: Harmoniae morales and Moralia. The uniting element of both cycles is, except for the moralizing contents, Latin language, which is not usual for madrigal style.
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Abramov-van Rijk, Elena. "THE ITALIAN EXPERIENCE OF THE HOLY ROMAN EMPEROR CHARLES IV: MUSICAL AND LITERARY ASPECTS." Early Music History 37 (October 2018): 1–44. http://dx.doi.org/10.1017/s0261127918000025.
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The Italians had conflicting sentiments regarding the visit of the Holy Roman Emperor Charles IV in Italy in 1355: from the enthusiastic expectations of the impact the Emperor would have on the local political life to contemptuous scepticism and even to overt disdain. Two Italian Trecento madrigals have traditionally been considered to refer to this visit: (1) the three-voice polytextual madrigal Aquil altera/Creatura gentil/Uccel di Dio by Jacopo da Bologna, seen as related to Charles’s coronation with the Iron Crown of Lombardy in Milan; and (2) the two-voice madrigal Sovran uccello by Donato da Firenze, considered a celebratory piece for Charles’s coronation as well. This essay explores the relevant historical contexts, Milanese for Jacopo’s madrigal and Florentine for Donato’s, with a view to placing both pieces.
14
Küster, Konrad. "Schütz, Opitz und andere bei Christian Druhl (1650)." Schütz-Jahrbuch 30 (July 20, 2017): 69–91. http://dx.doi.org/10.13141/sjb.v2008576.
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Der norddeutsche Theologe und Komponist Christian Druhl (nachweisbar zwischen 1635 und 1661, zuletzt als Pastor in Kellinghusen bei Itzehoe) legt in den Geistlichen Konzerten seiner 'Psalmodia Davidico-Ecclesiastica' von 1650 für die ersten 10 Psalmen 29 Kompositionen vor, also 2-4 Kompositionen je Psalm. Jeweils einer von ihnen liegt ein Ausschnitt biblischer Prosa zugrunde, den übrigen jeweils eine Einzelstrophe aus Psalmdichtungen (Ambrosius Lobwasser, Martin Opitz, Bartholomäus Ringwald) mit deren zugehörigen Melodien oder mit deren Satzverbund (Cornelius Becker/ Heinrich Schütz). Druhl unterscheidet die Satztypen als 'Concerte' (Bibelwort) und 'Madrigale' (Aufbereitung der Einzelstrophen aus Psalmdichtungen). Er leistet damit einen eigenständigen Beitrag zur zeitgenössischen Gattungsdifferenzierung unmittelbar vor Caspar Zieglers Madrigalabhandlung und im Umfeld sowohl der Dichtungsreformen durch Johann Rist als auch der Herausbildung des Prinzips 'Concerto cum aria'. (Autor)
Quelle: Bibliographie des Musikschrifttums online
15
Newcomb, Anthony. "The New Roman Style and Giovanni Maria Nanino." Journal of Musicology 36, no. 2 (2019): 167–94. http://dx.doi.org/10.1525/jm.2019.36.2.167.
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As a composer of secular music, Giovanni Maria Nanino seems to have published only three books of madrigals and one of canzonettas, yet he contributed numerous pieces to anthologies, and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Indeed in the fifteen years before the death of Giovanni Pierluigi da Palestrina in 1594, Nanino rivaled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. By certain measures Nanino was the most often represented composer in anthologies printed between 1570 and 1620. In this area he surpasses not only Palestrina, but also Luca Marenzio, Philippe de Monte, and Alessandro Striggio. Despite Nanino’s immense prestige among his contemporaries, in modern histories his secular music is scarcely discussed, with just a passing mention in Alfred Einstein’s voluminous The Italian Madrigal. This article establishes Nanino’s leadership in defining the new Roman style of madrigal in the late sixteenth century, outlines its musical characteristics, and suggests paths for future research into this as yet little studied school.
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Farahat, Martha. "On the staging of madrigal comedies." Early Music History 10 (October 1991): 123–43. http://dx.doi.org/10.1017/s026112790000111x.
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The brief life of the madrigal comedy spans the forty-year period from 1590 to 1630. Coming at the end of the sixteenth century, the genre marked the decline of the polyphonic madrigal style and heralded the evolution of secular vocal music's emphasis on the dramatic. As a genre, the madrigal comedy is not well known, and its designation can lead to confusion, because the term refers to collections of compositions that need not consist of madrigals or by themselves form comedies. Nevertheless it is a term that retains some usefulness in isolating a body of works from the late sixteenth and early seventeenth centuries that share common elements. Not until the most recent edition of Grove's Dictionary was there an entry under the heading ‘Madrigal Comedy’; earlier editions had described such works as madrigal operas, clearly an even more problematic term. The brief life of the genre – from Orazio Vecchi's Selva di varia recreatione of 1590 to Banchieri's last publication, the Trattenimenti da villa of 1630 – as well as the variety of types of composition and of musical style to be found in these collections, and the fact that there are so few of them, make it particularly difficult to define more narrowly or more precisely.
17
Abramov-van Rijk, Elena. "THE MADRIGAL AQUIL'ALTERA BY JACOPO DA BOLOGNA AND INTERTEXTUAL RELATIONSHIPS IN THE MUSICAL REPERTORY OF THE ITALIAN TRECENTO." Early Music History 28 (August 24, 2009): 1–37. http://dx.doi.org/10.1017/s0261127909000412.
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One difficulty in understanding the poetic texts of Trecento madrigals is that the language they use is often that of allegories and symbols, which requires a key for deciphering their true meaning. It is widely accepted, based on the interpretation of birds as heraldic symbols, that the madrigal Aquil'altera (Proud eagle) by Jacopo da Bologna was written either for a wedding or for a coronation ceremony. In this essay, however, I show that Aquila's content and literary style echo ideas and images that were circulating in the literature of the time, and especially in bestiaries and bestiary-inspired Italian poetry. Since these sources were well known to every educated person of the time, we may assume that its symbolic content, which is actually a praise of the human intellect, would have been understood by listeners and readers. This madrigal in turn provides a stimulus for tracing its ideas in other musical compositions of the Trecento, the madrigals Musica son by Francesco Landini and Se premio di virtù by Bartolino da Padova. These compositions are examined in the context of a specific cultural phenomenon in Italy of this period, namely, tenzoni, or correspondence in poetic forms – a practice that was the natural domain of the phenomenon we know as intertextuality.
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Potočnjak, Saša. "Kada Knjiga kupcu govori kako kupac knjigu treba čitati." Histria, no. 9 (2019): 93–113. http://dx.doi.org/10.32728/h2019.04.
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Knjiga propovijedi Manus Christi amoris Franje Glavinića (1585. – 1652.) objavljena je u Veneciji 1625. u izdanju Ivana Salisa. Knjiga se sastoji od pet dijelova kojima prethodi više pjesama Glavinićevih suvremenika: Lucido Mancinelli, Sonetto, Simpliciano da Fiume, Sonetto, Rafael Levaković, Knjiga kupcu govori, Kandid Barbarić, Epigramma te Giovanni Vito Zanchi da Fiume, Madrigale. Dva su pjesnika, Lucido Mancinelli i Rafael Levaković, četrnaest godina poslije objavila također panegiričke pjesničke sastavke, ali u izdanju djela koje je izišlo nakon smrti njegova autora. Riječ je o dosad slabo poznatom drugom izdanju Vazetja Sigeta grada Barne Karnarutića, koje je otisnuto u Veneciji kod Bartolomea Ginammija 1639. godine. Zasad jedini poznati sačuvani primjerak nalazi se u Bibliothèque nationale de France u Parizu. I dok je u Glavinićevu djelu funkcija takvih retoričkih umetaka panegirička (pohvala autora Glavinića), odnosno pragmatična (uvjeriti čitatelja da kupi Glavinićevu knjigu), ali bez jasnijega izvanknjiževnoga konteksta, u slučaju je posmrtnoga Karnarutićeva izdanja riječ o društveno-politički angažiranom pjesništvu s ciljem promicanja protureformacijskih ideja te u kontekstu sve intenzivnijega franjevačkog djelovanja.
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Mann, Jesse D. "Alfonso de Madrigal and Juan de Segovia: Some Conciliar Common (and Contested) Places." Renaissance and Reformation 42, no. 3 (December 11, 2019): 45–72. http://dx.doi.org/10.7202/1066359ar.
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This article offers a preliminary comparison of the thoughts of Alfonso de Madrigal and Juan de Segovia, two important fifteenth-century Spanish academics and authors whom scholars have seen as ideological allies. It identifies several areas of interest common to both writers, and then focuses on their conciliarist views. It argues that while Madrigal and Segovia both asserted several conciliar “common places,” often in similar terms, their ecclesiological positions differed in significant ways. Madrigal’s “theoretical” conciliarism is contrasted with Segovia’s “engaged” conciliarism in order to illuminate the notable differences in their respective careers and influence. The article concludes with a call for closer comparative study of these two wide-ranging thinkers.
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Kokole, Metoda. "»Sequamini o socii« ali vesela glasbena druščina s Kranjske in Štajerske: Prva knjiga pet- in šestglasnih madrigalov Filippa de Duca (1586)." Musicological Annual 43, no. 1 (December 1, 2007): 67–90. http://dx.doi.org/10.4312/mz.43.1.67-90.
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Posvetilo zbirke madrigalov Filippa de Duca iz leta 1586 omenja vrsto imen kranjskih in štajerskih plemičev. Zbirka je naslovljena na Janeza Jakoba in Karla Khisl, v nadaljevanju pa so omenjeni tudi oče Janez, brata Jurij in Vid ter »častitljiva druščina«: Friedrik in Jurij Hartman Stubenberg, Volk Egk in Hungerspach, Gašper Gleispach (vsi študentje prava v Padovi) ter njihov preceptor Hijeronim Megiser. En madrigal je posvečen Lenartu Merheriču. Prvi madrigal ima posvetilno besedilo, ki opeva oba osrednja posvečenca, in en drug verjetno hvali njuno sestro Ano Khisl. V zbirki je objavljen tudi primer pivske pesmi v mešanici latinščine in nemščine, ki živo ponazarja veselo življenje takratnih univerzitetnih študentov.
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Micał, Dominika. "„Ja” na pięć głosów rozpisane? Wielogłosowość madrygału od 1950 roku." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 40–56. http://dx.doi.org/10.14746/rfn.2021.22.4.
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Surprisingly, since 1950, at least 500 works connected to the madrigal, and among them at least 454 madrigals, have been written. Unfortunately, a comprehensive musicological or theoretical-musical approach to that issue has been lacking so far. Using the genre studies perspective, the article aims to show how some composers working in the second half of the 20th–century and in the 21st–century respond to the early madrigal in terms of one of the most important madrigal characteristics – its polyphonic scoring and texture. That aspect, criticised by theorists at the end of the 17 th century, became the source of diverse musical reinterpretation in contemporary pieces by, among others: Luciano Berio, Christophe Bertrand, Harrison Birtwistle, George Crumb, Beat Furrer, Roman Haubenstock-Ramati, Paul Hindemith, Mauricio Kagel, György Ligeti, Luigi Nono, Henri Pousseur, Grażyna Pstrokońska-Nawratil, John Rutter, Johannes Schöllhorn, Salvatore Sciarrino, Marek Stachowski, Alfred Schnittke, Pēteris Vasks, Agata Zubel. A number of aspects of polyphony are taken into consideration: type of polyphonic means (canons, fugue, passacaglia, etc.), their function (structural, semantic, emotional, etc.), and their meaning (c.f. their role in the process of constructing the subject of given works).
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Abramov-van Rijk, Elena. "The non-Italian Ars Nova: how to read the madrigal Povero zappator by Lorenzo da Firenze." Early Music 48, no. 1 (February 2020): 41–54. http://dx.doi.org/10.1093/em/caz093.
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Abstract The label ‘Ars Nova’ is not easily applicable to Italian 14th-century music, since its main characteristics, such as isorhythm, diminution, pre-existing tenors, and so on, are practically absent, with a few exceptions, from Italian musical compositions, even Italian motets. Yet, isorhythm and diminution were used in the madrigal Povero zappator by Lorenzo da Firenze. What was the reason for using these devices just in this madrigal, whose poetic text about a lone sailor in a tempestuous sea at first glance seems to be a poem typical of Trecento madrigals? This article contends that this text, which so far has attracted little scholarly attention, is derived from Petrarch’s canzone Ne la stagion che ’l ciel rapido inchina. This provides not only a clue to understanding Lorenzo’s intentions, but, in a larger perspective, it also discloses the perception by Italian Trecento musicians of the musical thinking of their transalpine colleagues.
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Strykowski, Derek R. "Text Painting, or Coincidence? Treatment of Height-Related Imagery in the Madrigals of Luca Marenzio." Empirical Musicology Review 11, no. 2 (January 10, 2017): 109. http://dx.doi.org/10.18061/emr.v11i2.4903.
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Text painting is a defining characteristic of the sixteenth-century madrigal style, especially in association with references to height. Whereas composers cannot have given musical illustration to every such reference contained within the text of a madrigal, the question of whether or not the music that accompanies a particular reference to height constitutes an actual example of text painting is sometimes unclear. To explore this problem empirically, the frequency with which musical excerpts from a corpus of 201 madrigals composed by the Italian composer Luca Marenzio satisfied three proposed definitions of height-related text painting was measured. The three definitions required a vocal part to contain either a large leap, stepwise motion, or an extreme of pitch. Positive correlations were observed between the appearance of music conforming to each of the respective definitions and the presence of height-related imagery in the text, yet only in passages that satisfied more than one definition. The research suggests that no single definition is a reliable indicator of height-related text painting, and that most legitimate examples rely on multiple compositional devices.
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Moller, Hartmut, and Concetta Assenza. "Giovan Ferretti tra canzonetta e madrigale, con l'edizione critica del Quinto libro di canzoni alla napolitana a cinque voci (1585)." Jahrbuch für Volksliedforschung 36 (1991): 180. http://dx.doi.org/10.2307/847686.
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Tytova, Mariia. "“Madrigāls” by Peteris Vasks: ways to renew the genre tradition." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 112–25. http://dx.doi.org/10.31318/2522-4190.2022.135.271009.
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The relevance of the study lies in highlighting the main principles of updating the ancient genre tradition with modern means in «Madrigāls» for mixed choir a сappella by the Latvian composer Peteris Vasks.
The main objective of the article is to reveal the ways of updating the genre tradition and expressive means of music in «Madrigals» by Peteris Vasks for the a cappella choir.
The methodology includes methods of historical, comparative, structural and functional analysis for: tracing the history of the emergence and development of the madrigal genre and identifying the peculiarities of its existence in different historical periods; establishing the constructive features of the music fabric and its interaction with the poetic foundation; tracing the vectors of renewal of genre traditions in this work.
Results and conclusions. In the studied choral work of P. Vasks, the lines of continuity of the leading genre of the Renaissance era are determined and the ways of renewing the genre tradition are established. In «Madrigāls» the composer uniquely implements the main principle of the genre: the direction of the entire set of expressive means towards the display of the verbal text. Using modern techniques of composer writing, he emphasizes as the main artistic image of the miniature the main symbol — «time», it is this that is revealed both at the poetic and music levels. The music embodiment is based on the interaction of various techniques of composition: aleatory moving voices and effectively formed sonoric bunches. In connection with the word and the poetic primary source, a musical-symbolic sound picture is formed, the content of which unfolds in time, gradually and steadily rushing to the main final thought in the code of the work.
Thus, working with a genre that has a centuries-old history, Peteris Vasks does not seek to preserve its usual outlines. The composer does not reproduce the established model of the genre, but interprets it, offers an updated version of the prototype of a certain genre, the primary invariant of which he sometimes deeply hides, and sometimes brings to the surface. This gives rise to many associations and at the same time surprises in how the modern arsenal of sound organization of huge choral arrays is organically combined with the «genre memory» of music art, and also opens up a wide perspective of research into other genres with their stable components and author’s innovations.
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Korobeinikov, Alexander S., and Tatiana V. Chaplya. "Questioning the genesis of the madrigal comedy and its connections with the cultural traditions and ideas of the renaissance humanism." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 196–201. http://dx.doi.org/10.17223/22220836/46/16.
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In order to understand such a unique phenomenon of European civilization as the Renaissance, it is necessary to immerse yourself in its musical culture, which reflects the complex and often contradictory processes taking place in the inner world of a person of that era. Under the influence of these processes, a wide variety of qualitatively new musical forms was formed, which served as the basis for interesting phenomena of musical culture, reflecting the characteristic traits of the Renaissance. Among these forms is the Italian madrigal comedy, a genre that lies at the intersection of musical and stage arts, which has not been sufficiently studied to date. In this regard, it is of interest to study its genesis and connection with elements of folk musical culture. Several samples of medieval prose could be considered the origins of the madrigal comedy -in particular, related to the tradition of the Italian novella. Among the examples of these, originally oral, genres was the 13th-century digest “Il novellino”, echoes of which can also be found in the typically Renaissance “Decameron” by G. Bocaccio, which reflects the characteristic features of the secularization of European society, including the enjoyment of man on earth existence. The novella itself is a kind of “construction genre”, opening up wide opportunities for improvisation - which makes it related to late theatrical genres. A mature literary genre that influenced the formation of the madrigal comedy was the farce that has existed since the 15th century. The difference between a farce and a novella is a pronounced stereotyping of certain characteristic features of the components of the Renaissance society (such as social classes, estates and professions), which can be considered as a phenomenon that precedes the appearance of masks of the madrigal comedy. The musical basis of the madrigal comedy was based on medieval song genres, which have a simple, lively and energetic harmony, which corresponds to the spirit of love of life and fun, embodied in the ideals of the Renaissance. The typology of madrigal comedies includes at least two types. The first is the simplest, representing a thematic cycle of madrigals without a pronounced stage component (“Caccia” by A. Striggio). A mature type, including independent solo parts, division into parts and a pronounced storyline, is reflected in the work of A. Banchieri and O. Vecchi. O. Veechi's comedy, the “Amphiparnassus”, among other things, also has pronounced farcical features, reflected in the vivid images of the heroes of the work. The short life of the madrigal comedy, apparently, was associated not so much with its content, but with the absence of a pronounced visual component, which did not allow it to find a response among the people and significantly reduced its competitiveness with the new visual genre of opera. Thus, the madrigal comedy can be considered as an organic combination of elements of traditional Italian culture and the ideas of Renaissance humanism, and its pronounced national flavor reflects the basic trends in the musical culture of the Renaissance.
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Гервер, Л. Л., and Д. А. Ковалевская. "Is Metrotectonic Perfection Characteristic of Madrigals by Luca Marenzio?" Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 44–69. http://dx.doi.org/10.26176/mosconsv.2019.39.4.002.
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В статье предлагается трактовка формы мадригалов Маренцио с позиций метротектонизма: аналитические установки Г. Э. Конюса адаптированы к особенностям вокального полифонического многоголосия. Основное внимание уделено соотношению поэтической и музыкальной структур мадригала. Как показано в статье, строфика стихотворного текста преобразуется в симметричную музыкальную конструкцию. При этом единицами музыкальной конструкции служат построения равной протяженности, далеко не всегда заключающие в себе одинаковое количество стихотворных строк; музыкальная симметрия часто сочетается с ассиметричным распределением поэтического текста. Симметричную конструкцию можно считать характерной для мадригалов Маренцио. Она присутствует в 24 из 25 проанализированных к настоящему времени образцов. Исключение составляет мадригал La bella man vi stringo на слова Б. Гварини, в котором отсутствует не только симметричная конструкция, но и обычная для мадригалов детализированная расчлененность формы. По-видимому, редкое композиционное решение соответствует поэтическому мотиву сжатия («Сжимаю Вашу прекрасную руку…»), переданному через концентрацию слов, производных от глагола stringere (stringo, stringete, stretto, stringendo). This article calls attention to madrigals by Luca Marenzio; the interpretation of musical form of the pieces is based on metrotectonism theory of Georgy Conus. His analytical approach is adapted to research vocal polyphony. The authors focus on the correlation between poetical and musical structures of madrigals. The article shows that poetical stanzas are transformed into symmetrical musical structures. Units of these musical structures are of equal size, which often include non-equal number of poetic lines; musical symmetry is usually combined with asymmetrical allocation of poetic text. Symmetrical structure can be considered as a typical feature of Marenzio’s madrigals. 24 of 25 analyzed examples are based on symmetrical structure. The only exception is the madrigal La bella man vi stringo (text by G. B. Guarini): this piece lacks both symmetrical structure and detailed musical form sectioning. Apparently, the unusual compositional decision corresponds to the poetic motive of squeezing (“I squeeze Your beautiful hand…”), reproduced by concentration of derivatives from stringere (stringo, stringete, stretto, stringendo).
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Гервер, Л. Л. "Revision of the Imitation Rules in the Madrigals of Luca Marenzio and Carlo Gesualdo." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 95–106. http://dx.doi.org/10.26156/om.2020.12.5.006.
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Статья посвящена пересмотру правил строгого стиля в имитационном письме мадригалов Луки Маренцио и Карло Джезуальдо. Показаны основные признаки мадригальной имитации: 1) особые типы соджетто, которые можно объяснить воздействием идеи imitazione delle parole: соджетто-возглас (с текстом Ahimè, Io moro и т. п.) и звукоизобразительное соджетто; 2) предельная краткость имитационных построений и их группировка по принципу имитационного «ядра» и имитационного «развертывания»; 3) контрастные сопоставления смежных имитационных групп; 4) паузирование во всех голосах ансамбля как один из приемов такого сопоставления; 5) окказиональный характер интервалов имитации, определяемых гармонической вертикалью, идеей хроматического порядка тонов в каждой партии ансамбля (у Джезуальдо) и т. п. This article focuses on the imitative writing in the madrigals of Luca Marenzio and Carlo Gesualdo. Many of the properties of these imitations do not conform to the rules of strict style. Among special features of madrigal imitation are: 1) new types of soggetto which can be attributed to the influence of the idea of imitazione delle parole: soggetto-exclamation (with the text Ahimè, Io moro, etc.) and sound-visual soggetto; 2) the utmost brevity of the imitative section; 3) the opposition of the adjacent imitative sections; 4) simultaneous rests in all the voices of the ensemble at the moment of such opposition; 5) occasional intervals of imitation caused by the harmonic progression or chromatic order of the tones in each voice of the madrigal (Gesualdo), etc.
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Getz, Christine. "The Sforza restoration and the founding of the ducal chapels at Santa Maria della Scala in Milan and Sant'Ambrogio in Vigevano." Early Music History 17 (October 1998): 109–59. http://dx.doi.org/10.1017/s0261127900001625.
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Although a number of motet, madrigal and lute collections supported by local Milanese patrons were printed in Milan and Venice during the first half of the sixteenth century, modern scholars continue to regard this period in Milanese history as fallow in musical activity. This phenomenon has resulted from a lack of documentary evidence regarding both the activities of the musicians who contributed to these collections and the musical institutions with which these musicians and their patrons were associated. While several studies on music at the Duomo of Milan during the first half of the sixteenth century do esixt, Guglielmo Barblan's poineering study remains the only comprehensive survey of civic and courtly music of the period, and it focuses primarily spon instrumental musicians, thus leaving largely unanswered the questions of where and by whom the aforementioned Milanese motests and madrigals were performed.
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Stefanovic, Аna. "Baroque references in works of Vlastimir Trajkovic." Muzikologija, no. 13 (2012): 141–62. http://dx.doi.org/10.2298/muz120401016s.
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The article examines Baroque references in three Trajkovic?s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice, flute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajkovic?s search for new paths in music, opposite to ?gothic? tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual relations. Compositions Arion and Zefiro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini?s collection of madrigals - Le nuove musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s sonnet). Zefiro torna, with a primarily French title and subtitles of the ?scenes? given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi?s madrigal with the same title composed after Rinuccini?s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th century music can be inferred.
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Carter, Tim. "Caccini'sAmarilli, mia bella: Some Questions (and a Few Answers)." Journal of the Royal Musical Association 113, no. 2 (1988): 250–73. http://dx.doi.org/10.1093/jrma/113.2.250.
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Amarilli, mia bellais the best known of the solo madrigals that Giulio Caccini included in hisLe nuove musicheof 1602.' The text was by Alessandro Guarini, who no doubt saw in his poem thebrevità, acutezza, leggiadria, nobiltàanddolcezzathat he claimed were most characteristic of modern madrigal verse. Similarly, theleggiadriaanddolcezzaof Caccini's setting have marked it out for prominence: Amarilh, mia bella was one of the first of his songs to be disseminated widely through Italy and Europe, and its distinction is reflected in its frequent appearance (often in less than satisfactory editions) in vocal anthologies up to the present day. But the song is far from being a straightforward example of Caccini's style. Indeed, a study of its sources in contemporary manuscripts and prints raises intriguing questions about the supposed innovations of Caccini's music and about the ways in which Florentine monody became known both south and north of the Alps.
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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.
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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.
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Gerbino, Giuseppe. "The Madrigal and its Outcasts: Marenzio, Giovannelli, and the Revival of Sannazaro's Arcadia." Journal of Musicology 21, no. 1 (January 1, 2004): 3–45. http://dx.doi.org/10.1525/jm.2004.21.1.3.
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In the 1580s Ruggero Giovannelli and Luca Marenzio published a series of madrigals drawn from the pastoral book Arcadia (1504) by the Neapolitan poet Jacopo Sannazaro. There was something unusual about this choice. The texts featured sdrucciolo lines, a verse type that was traditionally excluded from the Petrarchist canon and, consequently, from the repertory of the musical madrigal. In the dedication of his first book for four voices to Ferrante Penna, Giovannelli justified his decision to publish an entire collection of sdrucciolo as an homage to Sannazaro, to whom he referred as the pride of the kingdom of Naples. He clearly meant to capitalize on a distinctively southern sense of cultural identity that took pride in Sannazaro's poetic legacy. Why, in Rome in the 1580s, did it become so important, and potentially remunerative, to reaffirm the glory of a Neapolitan poet of the caliber and popularity of Sannazaro? Why did this celebratory act focus on such a specific aspect of his poetic output (namely the cultivation of sdrucciolo lines)? And above all, why did it take the form of a musical offering? By tracing the musical reception of Sannazaro's Arcadia in the 16th century, this article investigates the relationship between deviation from the norm and regional pride in the musical culture of the 1580s. Concomitantly, it aims at demonstrating that the study of the musical fortunes and misfortunes of Sannazaro's text has something distinctive to contribute to an understanding of the rhetoric of stylistic selection that surrounded the development of the Italian madrigal.
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Stras, Laurie. "Review: Alfonso Fontanelli: Complete Madrigals, Part I: Primo libro di madrigali a cinque voci (Ferrara, 1595); Part II: Secondo libro de madrigali a cinque voci (Venice, 1604)." Music and Letters 83, no. 4 (November 1, 2002): 665–67. http://dx.doi.org/10.1093/ml/83.4.665-a.
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Figueiredo, Daniel. "MOTETTI, MADRIGALI ET CANZONE FRANCESE DE GIOVANNI BASSANO." Revista Música 18, especial (October 21, 2018): 179–92. http://dx.doi.org/10.11606/rm.v18iespecial.151090.
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Este artigo tem como objetivo contextualizar e comentar o livro Motetti, madrigali et canzone francese de Giovanni Bassano, publicado em Veneza em 1591. A edição original do livro foi perdida durante a Segunda Guerra Mundial e conhece-se apenas uma cópia manuscrita de 1890, feita pelo musicólogo alemão Friedrich Chrysander. A obra é o segundo livro publicado por G. Bassano e um dos maiores livros de diminuições da época, na qual, ele apresenta cerca de cinquenta diminuições sobre uma ou duas vozes de peças a quatro, cinco e seis vozes, a maioria motetos de Giovanni Pierluigi da Palestrina e madrigais de Cipriano de Rore. Giovanni Bassano era cantor, compositor e cornetista, membro de uma famosa família de construtores de instrumentos, compositores e instrumentistas estabelecida em Londres e em Veneza, teve como seu tutor Girolamo Dalla Casa, a quem sucedeu no posto de diretor de música instrumental na Basílica de São Marcos.
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Mateer, David. "Hugh Davis's Commonplace Book: A New Source of Seventeenth-Century Song." Royal Musical Association Research Chronicle 32 (1999): 63–87. http://dx.doi.org/10.1080/14723808.1999.10540984.
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Among the Stafford family papers in Staffordshire Record Office is a small bundle of miscellaneous musical items which is as yet uncatalogued. There are incomplete sets of Richard Dering's Cantiones Sacrae (1617) and Cantica Sacra (1618) for five and six voices respectively, Giovanni Croce's Musica Sacra: To Sixe Voices (1611 edition), Agostino Agazzari's Madrigali a Cinque Voci (1602), George Kirbye's First Set of English Madrigalls (1597), and Thomas Watson's Italian Madrigalls Englished (1590), as well as the Abbé Duval's Principes de la musique pratique par demandes et par réponses (1764). The only manuscript item in the collection is a commonplace book that appears to have been compiled over a number of years by a certain Hugh Davis. Its varied contents range from songs, catches, poems, and Latin orations written in the early 1650s, to folk remedies for various ailments, extracts from Charles Butler's The Principles of Musik in Singing and Setting (1636), and a verbatim copy of James II's first Declaration of Indulgence of 4 April 1687. Although the first ten pieces have been torn out and those that remain are roughly and at times inaccurately notated, the manuscript is of interest in that it provides a rare insight into the musical and literary tastes of an undergraduate in mid-seventeenth-century Oxford, and preserves not only a number of hitherto unrecorded songs but also new sources of acknowledged works by such figures as Nicholas Lanier, John Wilson, Thomas Holmes and the Lawes brothers.
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Tasini, Francesco. "El Libro di ricercate a qvattro voci (1575) de Rocco Rodio y algunas consideraciones sobre relaciones entre Nápoles y España en el siglo XVI." Anuario Musical, no. 69 (December 30, 2014): 99. http://dx.doi.org/10.3989/anuariomusical.2014.69.164.
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Tras un breve repaso de los estudios musicológicos centrados en las relaciones que la música para tecla de los siglos XVI y XVII creó entre Nápoles y España, el ensayo se centra de manera casi exclusiva, y desde un punto de vista analítico y estilístico, en el «Libro di ricercate a qvattro voci di Rocco Rodio con alcvne fantasie sopra Varii canti fermi» publicado en Nápoles por Gioseppe Cacchio dall’Aquila en el 1575. El libro de Rocco Rodio («Rocchus Rodius Civitatis Barensis»; Bari, 1530ca - Nápoles, 1615ca) constituye la primera impresión en partitura, forma que será muy usada en Nápoles a finales del siglo XVI e inicios del XVII. Experimentará este fenómeno editorial una importante expansión a nivel nacional y europeo durante todo el siglo XVII, y aún durante el siglo XVIII se encuentran ejemplos. El análisis formal y estilístico de las composiciones publicadas en esta obra (cinco Ricercate, cuatro Fantasie sobre Canti Fermi y sobre La mi re fa mi re) muestra la “modernidad” y el progresismo del autor: las Ricercate del cual son una elaboración de la práctica coeva de la improvisación y la diminución que se aplicaba en los motetes polifónicos vocales y en los madrigales con affetti; las Fantasie representan un soberbio ejemplo de invención y maestría que se inscribe no sólo en el campo de la composición «osservata» para tecla, sino que representa un modelo ejemplar en el ambiente más amplio de la ferviente producción vocal, didáctica y experimental de la escuela polifónicoinstrumental entre Nápoles, Roma y España.
[it] Il Libro di ricercate a qvattro voci (1575) di Rocco Rodio e alcuni rilievi sui rapporti tra Napoli e la Spagna nel XVI secolo.
Il saggio, dopo una sintetica messa a punto sugli studi musicologici relativi ai rapporti intercorsi tra Napoli e la Spagna in particolare nel campo della produzione tastieristica dei secoli XVI-XVII, si occupa in maniera pressoché esclusiva – sotto il profi lo analitico e stilistico – del LIBRO DI RICERCATE A QVATTRO VOCI DI ROCCO RODIO CON ALCVNE FANTASIE SOPRA VARII CANTI FERMI, pubblicato a Napoli da Gioseppe Cacchio dall’Aquila nel 1575. Il libro di Rocco Rodio («Rocchus Rodius Civitatis Barensis»; Bari, 1530ca-Napoli, 1615ca) costituisce la prima stampa in assoluto apparsa in partitura, un sistema particolarmente seguìto a Napoli tra la fine del XVI secolo e l’inizio del XVII e che troverà un significativo impiego a livello nazionale ed europeo lungo tutto il corso del Seicento, con esempi anche nel Settecento. L’analisi formale e stilistica delle composizioni contenute nella stampa (cinque Ricercate, quattro Fantasie su Canti Fermi e su La mi re fa mi re) mostrano la scrittura ‘moderna’ e progressiva dell’autore, le cui Ricercate sono per così dire una rifrazione della coeva prassi improvvisativa e diminutiva che si esercitava nel mottetto polifonico vocale e nel madrigale affettuoso; le Fantasie costituiscono un superbo esempio di invenzione e maestria compositiva da leggersi non esclusivamente nell’alveo della tradizione del genere «osservato» nel campo tastieristico, ma vanno intese come il modello esemplare scaturito nell’ambiente più ampio della fervente letteratura vocale, didattica e sperimentale della scuola polifonicostrumentale tra Napoli, Roma e la Spagna.
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Spaar, Lisa Russ. "Longing Madrigal, and: Adolescence Madrigal." Pleiades: Literature in Context 38, no. 2 (2018): 44–45. http://dx.doi.org/10.1353/plc.2018.0115.
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Boorman, Stanley, Jessie Ann Owens, Perissone Cambio, Martha Feldman, Alfonso dalla Viola, Francesco dalla Viola, Hoste da Reggio, et al. "Sixteenth-Century Madrigal: Previously Unpublished Full Scores of Major Works from the Renaissance. Volume 2: Madrigali a cinque voci." Notes 48, no. 1 (September 1991): 268. http://dx.doi.org/10.2307/941829.
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Freedman, Richard. ""Marenzio's Madrigali a quattro, cinque et sei voci of 1588: A Newly-Revealed Madrigal Cycle and Its Intellectual Context"." Journal of Musicology 13, no. 3 (1995): 318–54. http://dx.doi.org/10.2307/764133.
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Freedman, Richard. ""Marenzio's Madrigali a quattro, cinque et sei voci of 1588: A Newly-Revealed Madrigal Cycle and Its Intellectual Context"." Journal of Musicology 13, no. 3 (July 1995): 318–54. http://dx.doi.org/10.1525/jm.1995.13.3.03a00020.
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Cardona-Hine, Alvaro. "Madrigal." Chasqui 20, no. 1 (1991): 162. http://dx.doi.org/10.2307/29740364.
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Cooley, Peter. "Madrigal." Missouri Review 11, no. 1 (1988): 154. http://dx.doi.org/10.1353/mis.1988.0020.
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Bizzarini, Marco, and Massimo Privitera. "Competition, Cultural Geography, and Tonal Space in the Book of Madrigals L’amorosa Ero (1588)." Journal of Musicology 29, no. 4 (2012): 422–60. http://dx.doi.org/10.1525/jm.2012.29.4.422.
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Around 1587 the Brescian nobleman Count Marc’Antonio Martinengo di Villachiara, who was renowned for his political and military experience as well as competence in both music and poetry, wrote a madrigal text, set it to music, and sent it to seventeen composers in different parts of Italy. Published under the title of L’amorosa Ero (Brescia, 1588), the collection gives the opportunity to compare some of the most influential composers such as Marenzio, Luzzaschi, Ingegneri, Striggio, and many others. The first part of the article focuses on the historical background to this collection, with special attention given to the musical activities in Brescia and in other cities (Cremona, Verona, Parma, Turin, and Rome). Martinengo’s political and military career and the music patronage of his family are discussed in detail, followed by an in-depth survey of most of the composers of L’amorosa Ero (particularly Alfonso Ferabosco, Claudio Merulo, Marc’Antonio Ingegneri, and Antonio Morsolino) to unveil their personal relationships with Martinengo. The hierarchy of composers represented in the madrigal collection turns out to be quite elaborate and reflects their political relevance in their time. The second part of the article is dedicated to the musical content of the collection. Given that L’amorosa Ero consists of the compositional responses of multiple composers to the same text—which, moreover, they all set in the same mode—the collection offers a unique opportunity to compare composers’ styles. Starting with a close examination of Martinengo’s poem, including its formal and emotional aspects, we follow with a comparative analysis, restricted to the first section of eight emblematic madrigals by Martinengo, Fiorino, Bertani, Ingegneri, Marenzio, Zoilo, Giovannelli, and Luzzaschi. The main analytical tool is the definition of tonal space, that is to say a dynamic articulation of mode that emerges through the interaction of such elements as melodic contour and cadences. Our analysis shows that, despite the limitations of mode and text, the music of the collection is strikingly diverse, ranging from traditional to more innovative styles.
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Fenlon, Iain, and Harry B. Lincoln. "Madrigals Indexed." Musical Times 130, no. 1762 (December 1989): 744. http://dx.doi.org/10.2307/966758.
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Bennett, Lawrence, Andrea Gabrieli, A. Tillman Merritt, Andre Pevernage, and Gerald R. Hoekstra. "Complete Madrigals." Notes 42, no. 3 (March 1986): 640. http://dx.doi.org/10.2307/897352.
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Buja, Maureen, Claudio Merulo, James Bastian, and Bonner Mitchell. "Collected Madrigals." Notes 52, no. 1 (September 1995): 296. http://dx.doi.org/10.2307/898846.
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García Lorca, Federico. "Madrigal apasionado." Estudios: filosofía, historia, letras, no. 7 (1986): 96. http://dx.doi.org/10.5347/01856383.0007.000284028.
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Spaar, Lisa Russ. "TORSO MADRIGAL." Yale Review 105, no. 4 (2017): 89. http://dx.doi.org/10.1353/tyr.2017.0097.
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Spaar, Lisa Russ. "Sundown Madrigal." Literary Imagination 20, no. 1 (December 27, 2017): 58. http://dx.doi.org/10.1093/litimag/imx074.
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