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Articles 1 - 5 of 5
Full-Text Articles in Arts and Humanities
La Favola D’Orfeo And The Role Of The Operatic Orchestra, Sarah Anderson, Grant Estes, Peyton Hansen
La Favola D’Orfeo And The Role Of The Operatic Orchestra, Sarah Anderson, Grant Estes, Peyton Hansen
2019 Festscrift: Claudio Monteverdi's Orfeo
One of Claudio Monteverdi’s greatest contributions to the opera was his unification of musical ideas and theoretical philosophies passed down from his predecessors. These ideas were mostly concerned with the way in which a composer could manage instruments and voices in a dramatically satisfying way. Monteverdi’s La Favola d’Orfeo was the first opera to employ new musical philosophies that would come to characterize the genre. In this essay, we will outline operatic orchestration practices before Monteverdi and connect them to the La Favola d’Orfeo to demonstrate the profound shift that Monteverdi brought to the development of modern opera.
Symbolism In The Allegory: A Look At Apollo’S Lyre, Keri Meinert, Emily Keiner, Anne Bak
Symbolism In The Allegory: A Look At Apollo’S Lyre, Keri Meinert, Emily Keiner, Anne Bak
2019 Festscrift: Claudio Monteverdi's Orfeo
This paper analyzes the symbolic meaning within Monteverdi’s operatic version of the fable of Orpheus, a demigod who has a talent for music. When Orpheus’ bride Eurydice died suddenly from a snake bite, he decides to seek her soul in the Underworld and bring her back to the land of the living. This task does not prove to be as easy for Orpheus as he initially thinks, when he finds himself losing her twice during the course of the five acts. To show how his journey unfolds, and the meaning behind each step, we will develop the symbolic meaning in …
The Patronage Of Isabella D’Este: An Examination Of Isabella D’Este’S Motivations As A Patroness In Renaissance Italy, Joel Padgett, Madi Parks, Gabe Zeigler
The Patronage Of Isabella D’Este: An Examination Of Isabella D’Este’S Motivations As A Patroness In Renaissance Italy, Joel Padgett, Madi Parks, Gabe Zeigler
2019 Festscrift: Claudio Monteverdi's Orfeo
The patronage system was the dominant force behind the creation of new works of art throughout the Renaissance and helped to bring about some of the greatest masterpieces of the time. This paper will specifically examine the works patronized by Isabella d’Este, including music, musical instruments, and literature. Using the patronage classification system discussed by Howard M. Brown, this paper will discuss Isabella’s motivations as a patron, either out of an internal love of art (mecenatismo) or to conform to societal expectations and other external cultural pressures (clientelismo). Using works by Ariosto, Tromboncino, and Cara, this …
The Gonzagas: Artistic Patronage In The Mantua Region During The Italian Renaissance, Ariane Omerza, Curtis Marek, Zachary Myatt
The Gonzagas: Artistic Patronage In The Mantua Region During The Italian Renaissance, Ariane Omerza, Curtis Marek, Zachary Myatt
2019 Festscrift: Claudio Monteverdi's Orfeo
The Mantua region of Italy is one that was controlled by the Gonzaga family for centuries. They dominated political and cultural aspects of life. This paper displays evidence that illustrates the power and structure behind Italian patronage during the Renaissance era. It showcases the Gonzaga family’s power in the Mantua region as well as their reaching influences on the greater Italian society. Specific examples of the family patronage are explored in depth, along with the ways that their patronage affected others. Overall, this paper serves as an array of information that ties in with the overarching themes of patronage both …
Musical Drama In Monteverdi's L'Orfeo: How Aria, Recitative, And Ritornello Shape Drama, Zoe Haenisch, Elliott Peterson, Luke Mcmillan, Sam Wagner
Musical Drama In Monteverdi's L'Orfeo: How Aria, Recitative, And Ritornello Shape Drama, Zoe Haenisch, Elliott Peterson, Luke Mcmillan, Sam Wagner
2019 Festscrift: Claudio Monteverdi's Orfeo
Composers of early operas faced the unique challenge of using their music as a dramatic form of entertainment. This idea of drama linked with music was relatively new, so these composers had to develop entirely original concepts. One such composer was Claudio Monteverdi, who built the foundation of modern opera’s three main musical forms: aria, recitative, and ritornello. An early example of the dramatic use of these musical forms can be seen in Monteverdi’s L’Orfeo. In this opera, Monteverdi used the aria to convey emotions, the recitative to transmit information, and the ritornello to unify the plot.