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Showing 1 to 9 of 9 for “"Monteverdi"”.
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Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues
… use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di …
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The (un)Natural Baroque: Giambattista Marino and Monteverdi's Late Madrigals
… Italian secular music. The madrigals of Claudio Monteverdi (1567–1643) have often been seen to bridge the gap between the Renaissance and the Baroque since they introduced instrumental writing and operatic elements into a traditionally vocal genre. There is an unmistakable change in Monteverdi’s …
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A history of the Venetian sacred solo motet (c. 1610--1720).
… works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo …
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Graduate Recital, Trumpet
… McNeff arrangement of Fanfare from Orfeo by Monteverdi, a William Schmidt arrangement of Fuga I by Johann Sebastian Bach, Canzona per sonare No. 1 La Spiritata by Giovanni Gabrieli, Suite for Brass Quartet by Robert Sanders, and a Bill Holcombe arrangement of Pineapple Rag by Scott Joplin.
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Speaking in Tones: Plainchant, Monody, and the Evocation of Antiquity in Early Modern Italy
… Caccini, Emilio de’ Cavalieri, and Claudio Monteverdi used plainchant formulas in their compositions for solo voice: Peri used psalm tones in <i>Euridice</i>; Caccini used Tenebrae chant melisma in <i>Le nuove musiche</i>; Cavalieri quoted the Lamentations chant in his <i>Lamentationes</i>; …
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Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s
… by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics …
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Sigimondo D’India à la cour de Turin. Musique, mécénat et identité nobiliaire (publiée en ligne http://www.e-sorbonne.fr/theses/2014pa040139)
… 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 …
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Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works
… changed significantly. In his operas, Claudio Monteverdi (1567-1643) assigned parts to specific instruments in the score, additionally expanding their importance in the musical texture (Burkholder 316). Giovanni Gabrieli (1554-1612) wrote many compositions for cori spezzati, or divided choirs, …
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Singing Petrarch in the Cinquecento: Embodied Reading and the Italian Madrigal
… from the madrigals of Arcadelt to those of Monteverdi, and musical examples draw from large collection of madrigals on Petrarch sonnets. The analytical methodology is built on the premise that Cinquecento encounters with poetry can be described as embodied reading, and that the highlighting …