Written in English
|Statement||by Gerard George LeCoat.|
|The Physical Object|
|Pagination||v, 305 leaves|
|Number of Pages||305|
|LC Control Number||87594214|
Monteverdi had moved to the city from Mantua and composed his last operas, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea, for the Venetian theatre in the s. Monteverdi’s work, often regarded as revolutionary, marked the change from the Renaissance style of music to that of the baroque period. A concise guide to Monteverdi's sacred music and the details in Monteverdi's life that influenced their creation. Fabbri, Paolo (trans. Tim Carter). Monteverdi. Cambridge, UK: Cambridge University Press, A landmark study of Monteverdi's music, providing a history of all of his most important compositions and analysis of the compositions. Claudio Monteverdi And Classical Music Words | 7 Pages. Claudio Monteverdi Brendon Stewart Music F Professor Mehemti 24 November In his paper I’ll be talking Claudio Monteverdi, an Italian composer, string player and choirmaster during the late renaissance and early baroque era who was versed in both secular and sacred music and also worked as a choirmaster. The techniques for emotional and rhetorical inflection we now take for granted are not, in fact, natural or universal: they were deliberately formulated during this period for the purposes of music theatre. Monteverdi's descriptions of how he invented the semiotics of madness for La finta pazza Licori or of war for the Combattimento di Tancredi.
Claudio Giovanni Antonio Monteverdi (/ ˌ m ɒ n t ɪ ˈ v ɛər d i /, also US: /-ˈ v ɜːr d-/; Italian: [ˈklaudjo monteˈverdi] (); baptized 15 May – 29 November ) was an Italian composer, string player, choirmaster, and priest.A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the. By the middle of the eighteenth century, the baroque idea of music as a form of rhetoric was under attack. Music had a marvelously potent power to express even the most difficult concepts—but only in its most “natural” form, which the baroque era had ostensibly muddled. As .  In 'Artusi, Monteverdi, and the Poetics of Modern Music', he probes the role of the contemporary press, asking 'whether the intensity of the debate itself reflects a new perception of the power of the press', for 'no prior theoretical dispute had kept the presses so busy, with at least six printed statements appearing in the space of only. Monteverdi’s appreciation of Tasso, hesitant and secondhand in Book II, matured notably by , when he published hisTerzo libro de work that fascinated him now was the epic poemGerusalemme much so that he put aside almost completely the “madrigalismo descrittivo” of many texts of Book II: there are no lyric poems by either Tasso or Casone here.
It is unlikely that a single and uniform style and a single philosophy could cover a period of over years, because there are many aspects of the Baroque and the musical style of this time, also for geographical, political and economic factors.. One of the major philosophical currents in the Baroque era derives from the interest of the Renaissance for Greek and Roman culture. The Baroque age was a time of rhetoric. It was the turn of music to speak – in the first person. From this point on, we speak of “musical discourse.” Systematized since the 16th century, musical rhetoric developed with the new era initiated by . The Musical Dialogue, along with Harnoncourt's Baroque Music Today: Music as Speech (to which this volume was issued as a companion), is a valuable collection of lectures and essays laying out those ideas. In the previous book, Harnoncourt discussed his views on phrasing (using short phrases based on the idea of rhetoric rather than on a long Reviews: 3. Until the age of forty, Monteverdi worked primarily on this genre, composing a total of nine books. It took the composer about four years to finish his first book of 21 ___ for five voices. As a whole, the first 8 books show the enormous development from Renaissance polyphonic music to the monodic style of Baroque music.