This study explores the concept of what constitutes a contemporary madrigal, and how this is inspired by and relates to the Renaissance form of the madrigal. Specifically, it aims to create an updated, more accurate definition of the madrigal than the one currently present in the literature; one that considers twentieth and twenty-first century examples of madrigals in addition to the traditional Renaissance form. The main characteristics of the contemporary madrigal are determined via a historical comparative analysis of contemporary case studies to the Renaissance madrigal, and the design of my own original madrigals acting as a model of the form. It provides a survey of the following works: • George Crumb’s Madrigals Book I • Morten Laur...
492 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1984.The Concerti di Andrea et di...
Imitazione was a concept fundamental to all Renaissance art. The term was a controversial one, and d...
In this thesis I propose a set of formal types for the analysis of the Italian Renaissance madrigal,...
This work pretends to leave written proof of the analysis previous to the composition in the assumpt...
Many present day directors and performers show little stylistic understanding of original madrigalia...
Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet...
Carlo Gesualdo Prince of Venosa’s sixth and final book of Italian madrigals has puzzled scholars sin...
A recurring topic in musicology is the origin of the madrigal. Did it come from the frottola, the mo...
This thesis examines how the mid sixteenth century madrigal phenomenon was perceived and interpreted...
Gesualdo’s compositional writing evolves throughout his six books of madrigals. While the first two ...
The early decades of the seventeenth century saw an important aesthetic shift in Italian secular mus...
This thesis describes the importance of the amateur academy as a centre for the consumption of both ...
480 leaves :illus., maps., pamph.(404-41p.) in pocket ; 30 cm. Bibliography: p.459-472. University o...
While other contemporary composers have written works called madrigals, Ligeti\u27s Nonsense Madriga...
96 p.Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2003.In these cycles he incorpor...
492 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1984.The Concerti di Andrea et di...
Imitazione was a concept fundamental to all Renaissance art. The term was a controversial one, and d...
In this thesis I propose a set of formal types for the analysis of the Italian Renaissance madrigal,...
This work pretends to leave written proof of the analysis previous to the composition in the assumpt...
Many present day directors and performers show little stylistic understanding of original madrigalia...
Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet...
Carlo Gesualdo Prince of Venosa’s sixth and final book of Italian madrigals has puzzled scholars sin...
A recurring topic in musicology is the origin of the madrigal. Did it come from the frottola, the mo...
This thesis examines how the mid sixteenth century madrigal phenomenon was perceived and interpreted...
Gesualdo’s compositional writing evolves throughout his six books of madrigals. While the first two ...
The early decades of the seventeenth century saw an important aesthetic shift in Italian secular mus...
This thesis describes the importance of the amateur academy as a centre for the consumption of both ...
480 leaves :illus., maps., pamph.(404-41p.) in pocket ; 30 cm. Bibliography: p.459-472. University o...
While other contemporary composers have written works called madrigals, Ligeti\u27s Nonsense Madriga...
96 p.Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2003.In these cycles he incorpor...
492 p.Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1984.The Concerti di Andrea et di...
Imitazione was a concept fundamental to all Renaissance art. The term was a controversial one, and d...
In this thesis I propose a set of formal types for the analysis of the Italian Renaissance madrigal,...