{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/20850"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/20850","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"A comparative analysis of 18 settings of Petrarch's \"\"Tutto'l dipiango; e poi la notte, quando\"\"\"","abstract":"\"This thesis compares eighteen different musical settings of the Petrarch sonnet \"\"Tutto'l di piango; e poi la notte, quando.\"\" These settings include two unattributed recitation formulas from the Rocco Rodio Anthology and the Bottegari Lutebook, thirteen polyphonic settings by two anonymous composers, Girolamo Scotto, Cipriano de Rore, Vincenzo Ruffo, Sperindio Bertholdo, Francesco della Viola, Dominico Magiello, Orlando di Lasso, Francesco Portinaro, Filippo di Monte, and Luca Marenzio, and three monodies by Jacopo Peri, Giulio Caccini, and Sigismondo d'India. The purpose of the study is to trace the development of the relation of music and text in the Renaissance polyphonic and monodic madrigal. The Petrarch sonnet was chosen both because of the central literary importance of the trecento poet to the literary and musical aesthetics of sixteenth-century madrigal composers, and because of the stylistic breadth represented by the large number of musical settings of this particular sonnet.\"","abstract_html":""This thesis compares eighteen different musical settings of the Petrarch sonnet ""Tutto'l di piango; e poi la notte, quando."" These settings include two unattributed recitation formulas from the Rocco Rodio Anthology and the Bottegari Lutebook, thirteen polyphonic settings by two anonymous composers, Girolamo Scotto, Cipriano de Rore, Vincenzo Ruffo, Sperindio Bertholdo, Francesco della Viola, Dominico Magiello, Orlando di Lasso, Francesco Portinaro, Filippo di Monte, and Luca Marenzio, and three monodies by Jacopo Peri, Giulio Caccini, and Sigismondo d'India. The purpose of the study is to trace the development of the relation of music and text in the Renaissance polyphonic and monodic madrigal. The Petrarch sonnet was chosen both because of the central literary importance of the trecento poet to the literary and musical aesthetics of sixteenth-century madrigal composers, and because of the stylistic breadth represented by the large number of musical settings of this particular sonnet."","abstract_has_math":false,"creators":["Lloyd, Thomas"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Hill, John W."],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:51:09Z","date_published":"2011-05-07T12:51:09Z","updated_at":"2026-07-22T22:25:16Z","subjects":["Music"],"languages":["eng"],"rights":["Copyright 1994 Lloyd, Thomas"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9512466","(UMI)AAI9512466"],"render_values":[{"text":"AAI9512466","href":null,"code":true},{"text":"(UMI)AAI9512466","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/20850","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Hill, John W."]},{"key":"dc:creator","label":"Author","values":["Lloyd, Thomas"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:51:09Z","10000-01-01","1994"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1994 Lloyd, Thomas"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9512466","(UMI)AAI9512466","http://hdl.handle.net/2142/20850"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["\"This thesis compares eighteen different musical settings of the Petrarch sonnet \"\"Tutto'l di piango; e poi la notte, quando.\"\" These settings include two unattributed recitation formulas from the Rocco Rodio Anthology and the Bottegari Lutebook, thirteen polyphonic settings by two anonymous composers, Girolamo Scotto, Cipriano de Rore, Vincenzo Ruffo, Sperindio Bertholdo, Francesco della Viola, Dominico Magiello, Orlando di Lasso, Francesco Portinaro, Filippo di Monte, and Luca Marenzio, and three monodies by Jacopo Peri, Giulio Caccini, and Sigismondo d'India. The purpose of the study is to trace the development of the relation of music and text in the Renaissance polyphonic and monodic madrigal. The Petrarch sonnet was chosen both because of the central literary importance of the trecento poet to the literary and musical aesthetics of sixteenth-century madrigal composers, and because of the stylistic breadth represented by the large number of musical settings of this particular sonnet.\"","After the introductory chapter, the second chapter summarizes current research into the origins of the polyphonic Italian madrigal. The third chapter discusses the distinct and yet frequently intersecting artistic aims of the polyphonic and monodic madrigal styles, with special consideration of the influence of the oral tradition of the improvvisatori on both genres. The fourth chapter contains a detailed analysis of the poem itself, with emphasis on the interrelation of affective images, poetic form, and metrical structure. The final chapter details a comparative analysis of the eighteen musical settings. The investigation discovers surprisingly few examples of obvious direct borrowing of musical material, and yet does find numerous examples of the similar use of conventional techniques for musical text-setting. The most refined examples in both the polyphonic and monodic idioms are found to be those that musically reflect the meaning of the text on both the level of individual images and of poetic form.","Made available in DSpace on 2011-05-07T12:51:09Z (GMT). No. of bitstreams: 2 license.txt: 4922 bytes, checksum: 910b249b4beec47e7ab768910c8f966f (MD5) 9512466.pdf: 11594284 bytes, checksum: dcbb2f778b2d9f0df79ff20512007e45 (MD5) Previous issue date: 1994","Item marked as restricted to the 'UIUC Users [automated]' Group (id=2) by Howard Ding (hding2@illinois.edu) on 2011-05-07T14:46:43Z Item is restricted indefinitely.","Restriction data tranferred 2014-07-01T11:20:58-05:00 Original Data Group with Access UIUC Users [automated] Release Date: none Reason: ETDs are only available to UIUC Users without author permission","ETDs are only available to UIUC Users without author permission","U of I Only"]},{"key":"dc:title","label":"Title","values":["\"A comparative analysis of 18 settings of Petrarch's \"\"Tutto'l dipiango; e poi la notte, quando\"\"\""]}]}],"canonical_facts":{"dc:contributor":["Hill, John W."],"dc:creator":["Lloyd, Thomas"],"dc:date":["2011-05-07T12:51:09Z","10000-01-01","1994"],"dc:description":["\"This thesis compares eighteen different musical settings of the Petrarch sonnet \"\"Tutto'l di piango; e poi la notte, quando.\"\" These settings include two unattributed recitation formulas from the Rocco Rodio Anthology and the Bottegari Lutebook, thirteen polyphonic settings by two anonymous composers, Girolamo Scotto, Cipriano de Rore, Vincenzo Ruffo, Sperindio Bertholdo, Francesco della Viola, Dominico Magiello, Orlando di Lasso, Francesco Portinaro, Filippo di Monte, and Luca Marenzio, and three monodies by Jacopo Peri, Giulio Caccini, and Sigismondo d'India. The purpose of the study is to trace the development of the relation of music and text in the Renaissance polyphonic and monodic madrigal. The Petrarch sonnet was chosen both because of the central literary importance of the trecento poet to the literary and musical aesthetics of sixteenth-century madrigal composers, and because of the stylistic breadth represented by the large number of musical settings of this particular sonnet.\"","After the introductory chapter, the second chapter summarizes current research into the origins of the polyphonic Italian madrigal. The third chapter discusses the distinct and yet frequently intersecting artistic aims of the polyphonic and monodic madrigal styles, with special consideration of the influence of the oral tradition of the improvvisatori on both genres. The fourth chapter contains a detailed analysis of the poem itself, with emphasis on the interrelation of affective images, poetic form, and metrical structure. The final chapter details a comparative analysis of the eighteen musical settings. The investigation discovers surprisingly few examples of obvious direct borrowing of musical material, and yet does find numerous examples of the similar use of conventional techniques for musical text-setting. The most refined examples in both the polyphonic and monodic idioms are found to be those that musically reflect the meaning of the text on both the level of individual images and of poetic form.","Made available in DSpace on 2011-05-07T12:51:09Z (GMT). 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