| Series |
Eastman studies in music, 1071-9989 ; v. 101
Eastman studies in music ; v. 101. ^A494093
|
| Contents |
Introduction -- Maria Cavalli, copyist and teacher / Jennifer Williams Brown -- Il ritorno di Poppea: a new German source provokes some new thoughts and old arguments / Alan Curtis -- An unreported Mantuan libretto from 1623 / Gary Tomlinson -- The triumph of inconstancy: the vicissitudes of a seventeenth-century libretto / Beth L. Glixon and Jonathan E. Glixon -- A letter on Benedetto Ferrari, "Eccellentissimo sonator di tiorba" / Dinko Fabris -- Recordings of music written for St. Mark's: an architectural historian's view / Deborah Howard -- The twenty-two steps: clef anomalies or "basso alla bastarda" in mid-seventeenth-century Italian opera / Álvaro Torrente -- "Indarno chiedi": Clorinda and the interpretation of Monteverdi's Combattimento / Suzanne G. Cusick -- The veil, the mask, and the eunuch: sight, sound, and imperial erotics in L'incoronazione di Poppea / Wendy Heller -- Baciami, Claudio: psychological depth and carnal desire in the Marino settings of Monteverdi's book seven / Andrew H. Weaver -- Powerless spirit: echo on the musical stage of the late Renaissance / Barbara Russano Hanning -- Excavating Virgil in counter-Reformation Rome: Domenico Mazzocchi's dialoghi based on the Aeneid / Susan Parker Shimp -- Music as a fonte della varietà: Sforza Pallavicino on the aria / Robert R. Holzer -- Giambattista Marino's operatic aesthetics / Giuseppe Mazzotta -- Strophic form in the canzonettas of Orazio Vecchi, Luca Marenzio, and Claudio Monteverdi / Ruth I. Deford -- Cantar ottave, cantar storie / Margaret Murata -- Dramatizing discourse in seventeenth-century opera: music as illocutionary force in Francesco Cavalli's Giasone (1649) / Mauro Calcagno -- Incitamentum amoris musica (picta) / David Rosand. |
| Abstract |
The concept of musical voice has been a subject of controversy in recent decades, as the primacy of the composer's place in the creation of the work has been called into question. The essays in the book take the notion of musical voice as a starting point, and apply it in varying ways to diverse repertoires and music-historical circumstances, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. Rather than attributing interpretive control to the composer, performer, or audience alone, these essays present a range of interpretive strategies with respect to the various voices that one might hear and understand as emerging from a musical work: the composer's voice, the performer's voice, the patron's voice, the collector's voice, and the social or receptive voice. |
| Bibliography note | Includes bibliographical references (pages 375-379) and index. |
| LCCN | 2013019319 |
| ISBN | 9781580464291 (hardcover ; alkaline paper) |
| ISBN | 1580464297 (hardcover ; alkaline paper) |
