- Hardcover: 358 pages
- Publisher: Clarendon Press; illustrated edition edition (14 Dec 1995)
- Language English
- ISBN-10: 0198163703
- ISBN-13: 978-0198163701
- Product Dimensions: 23.6 x 16 x 2.6 cm
- Amazon Bestsellers Rank: 4,445,199 in Books (See Top 100 in Books)
- See Complete Table of Contents
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"Effectively, the editors have coordinated the thirteen essays in chronological order, offering readers a sensation of traveling through the historical epoch at a pace which proceeds steadily while allowing glimpses of fascinating details along the way."--Early Music Newsletter
Product Description
Music in 17th and early 18th century Italy was wonderfully rich and varied: in theatrical and secular vocal chamber music alone, we saw the rise of the solo song and cantata, and the birth and growth of opera, all establishing important new structural and expressive paradigms. But this was also a complex time of uncertainty and change, as 'old' and 'new' interacted in subtle and often surprising ways. There is still much to document, explore and explain in terms of composers and repertories and their multi-layered contexts. This collection of essays by European, British and American musicologists seeks to consolidate the recent growth interest in seventeenth century studies. It includes discussions of leading composers (d'India, Monteverdi, Rovetta, Steffani, Albinoni, Vivaldi and Handel), repertories (chamber laments, staged balli and operatic mad-scenes), geographical issues (the arrival of Neapolitan opera in Venice), institutional contexts, and iconography. Inspiration for the book was drawn from the poineering research of Nigel Fortune, to whom the volume is dedicated on his 70th birthday.
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First Sentence
MONODY, or accompanied solo song, was new at the end of the sixteenth century only in that it was being composed rather than improvised, written down by humanist-educated performers who believed in the power of the solo voice to move their listeners by conveying the words clearly and by imitating the affections underlying the text through purposeful vocal ornamentation and graceful nuancing. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
MONODY, or accompanied solo song, was new at the end of the sixteenth century only in that it was being composed rather than improvised, written down by humanist-educated performers who believed in the power of the solo voice to move their listeners by conveying the words clearly and by imitating the affections underlying the text through purposeful vocal ornamentation and graceful nuancing. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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