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Full-Text Articles in Music Practice
From Modal To Tonal: The Influence Of Monteverdi On Musical Development, Haley J. Perritt
From Modal To Tonal: The Influence Of Monteverdi On Musical Development, Haley J. Perritt
The Research and Scholarship Symposium (2013-2019)
In efforts to prove the transition from modality to tonality in the late Renaissance era, this paper uses examples from the works of Monteverdi to reveal the shift to tonal music. By examining his background in music theory and his involvement within the church, it is evident that Monteverdi’s upbringing in music later affected his musical compositions. Being raised in Cremona, a city in close proximity with Milan, he was exposed to a wide variety of music and excellent instruction, especially from the church cantor Marc’ Antonio Ingegneri. Through score study and evaluation of Monteverdi’s early madrigals and his famous …
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson
Realizing The Continuo In Monteverdi's Lamento Della Ninfa And Its Implications For Early-Seventeenth-Century Italian Continuo Practice, Roland Jackson
Performance Practice Review
Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals published in 1638, is regarded as among his most emotionally moving works, Denis Arnold (for one) calling it “unforgettable” and “almost unbearably intense.” Nonetheless, our full sense of it and of its expressive potential, remains uncertain in that its accompaniment has come down to us in incomplete form, consisting of but a single bass line on a descending fourth, A – G – F – E, repeated throughout. How this line is to be interpreted has not been agreed upon among scholars or performers, despite its critical …
Graduate Recital, Valorus D. Lindsay
Graduate Recital, Valorus D. Lindsay
All Graduate Plan B and other Reports, Spring 1920 to Spring 2023
The inclusion of such a large number and variety of songs and arias in a vocal recital necessitates a separate discussion of each composer involved and his contributions to vocal literature. Accordingly, the writer has compiled this report into sections dealing with the composers. A brief biographical sketch of each composer has been given and an analysis of the music performed in the recital has been made .
The personal translations of the writer are included with each song written in a foreign language . To a singer not familiar with the language, the meaning of a piece is as …