Add to ORKGUsing Elizabethan madrigals, I will shed light on the role of modality in the expressive chromaticism that plays a strong role in this repertoire. In 16th-century Italy, the madrigal was a compositional venue for experimentation in musica ficta and temperament, as discussed in the (often polemical) treatises of Zarlino, Vicentino, and Lusitano. By the time Nicholas Yonge published his Italian madrigal anthology Musica Transalpina (1588), this genre was already being naturalized in England. This leads to questions of performance practice, textual analysis, and theoretical assimilation that I examine through critical analysis
Claudio Monteverdi's (1567-1643) ninth book of madrigals, the Madrigali e Canzonette, was published ...
The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche wer...
The “golden age” of the arts in England in the sixteenth century came about largely because of the c...
This thesis examines how the mid sixteenth century madrigal phenomenon was perceived and interpreted...
Was Gesualdo a ‘modern’ composer, or a ‘conservative’ one? Does Gesualdo’s chromaticism transg...
In 1595 Thomas Morley published The First Booke of Balletts, a collection of Italian madrigals Engl...
The Neapolitan poet Giambattista Marino made a major impact on the history of Italian music in the e...
Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet...
Between 1555 and 1620, more than eighty-five volumes containing Italian madrigals were printed in An...
Among Giovanni Maria Nanino’s compositions, the madrigal Morir non può 'l'mio core, published in hi...
In efforts to prove the transition from modality to tonality in the late Renaissance era, this paper...
This work pretends to leave written proof of the analysis previous to the composition in the assumpt...
In recent years the madrigal has gained considerable popularity. While this is good, unfortunately, ...
The Musica nova of Adrian Willaert, a large collection of madrigals and motets composed around 1540 ...
Carlo Gesualdo Prince of Venosa’s sixth and final book of Italian madrigals has puzzled scholars sin...
Claudio Monteverdi's (1567-1643) ninth book of madrigals, the Madrigali e Canzonette, was published ...
The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche wer...
The “golden age” of the arts in England in the sixteenth century came about largely because of the c...
This thesis examines how the mid sixteenth century madrigal phenomenon was perceived and interpreted...
Was Gesualdo a ‘modern’ composer, or a ‘conservative’ one? Does Gesualdo’s chromaticism transg...
In 1595 Thomas Morley published The First Booke of Balletts, a collection of Italian madrigals Engl...
The Neapolitan poet Giambattista Marino made a major impact on the history of Italian music in the e...
Luca Marenzio has long been acknowledged as one of the greatest masters of the Italian madrigal, yet...
Between 1555 and 1620, more than eighty-five volumes containing Italian madrigals were printed in An...
Among Giovanni Maria Nanino’s compositions, the madrigal Morir non può 'l'mio core, published in hi...
In efforts to prove the transition from modality to tonality in the late Renaissance era, this paper...
This work pretends to leave written proof of the analysis previous to the composition in the assumpt...
In recent years the madrigal has gained considerable popularity. While this is good, unfortunately, ...
The Musica nova of Adrian Willaert, a large collection of madrigals and motets composed around 1540 ...
Carlo Gesualdo Prince of Venosa’s sixth and final book of Italian madrigals has puzzled scholars sin...
Claudio Monteverdi's (1567-1643) ninth book of madrigals, the Madrigali e Canzonette, was published ...
The Renaissance theorist Gioseffo Zarlino and his theoretical treatise Le istitutioni harmoniche wer...
The “golden age” of the arts in England in the sixteenth century came about largely because of the c...