Add to ORKGOne of Claudio Monteverdi’s greatest contributions to the opera was his unification of musical ideas and theoretical philosophies passed down from his predecessors. These ideas were mostly concerned with the way in which a composer could manage instruments and voices in a dramatically satisfying way. Monteverdi’s La Favola d’Orfeo was the first opera to employ new musical philosophies that would come to characterize the genre. In this essay, we will outline operatic orchestration practices before Monteverdi and connect them to the La Favola d’Orfeo to demonstrate the profound shift that Monteverdi brought to the development of modern opera
This dissertation will investigate the use of wind instruments in the operas of Wolfgang Amadeus Moz...
This is a 1914 thesis by Charlotte Anderson entitled, "The Development of the Opera"
The Orchestra in the Theatre – Composers, Works, and Performance is part two of the publication The ...
Late Renaissance composer Claudio Monteverdi is known by scholars as the father of opera. While Mont...
Composers of early operas faced the unique challenge of using their music as a dramatic form of ente...
Opera, perhaps fittingly described as an eclectic compilation of philosophy and Greek theater, emerg...
After a long gap in their reception history, Claudio Monteverdi’s operas have since the early twent...
Este trabalho tem por objetivo apresentar a realização de uma PARTITURA CONTEMPORÂNEA DE EXECUÇÃO da...
Late Renaissance composer Claudio Monteverdi is known by scholars as the father of opera. While Mont...
The score for Claudio Monteverdi’s opera Orfeo, published in 1609, includes a preliminary “Toccata” ...
Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals publishe...
In efforts to prove the transition from modality to tonality in the late Renaissance era, this paper...
A relatively long letter from Giuseppe Verdi to the Florentine vocal director Pietro Romani, reprodu...
Between 1607 and 1609, the Milanese professor of rhetoric, Aquilino Coppini (d. 1629), published thr...
This thesis sets out to discover the beginnings of the modern conception of the orchestra and orches...
This dissertation will investigate the use of wind instruments in the operas of Wolfgang Amadeus Moz...
This is a 1914 thesis by Charlotte Anderson entitled, "The Development of the Opera"
The Orchestra in the Theatre – Composers, Works, and Performance is part two of the publication The ...
Late Renaissance composer Claudio Monteverdi is known by scholars as the father of opera. While Mont...
Composers of early operas faced the unique challenge of using their music as a dramatic form of ente...
Opera, perhaps fittingly described as an eclectic compilation of philosophy and Greek theater, emerg...
After a long gap in their reception history, Claudio Monteverdi’s operas have since the early twent...
Este trabalho tem por objetivo apresentar a realização de uma PARTITURA CONTEMPORÂNEA DE EXECUÇÃO da...
Late Renaissance composer Claudio Monteverdi is known by scholars as the father of opera. While Mont...
The score for Claudio Monteverdi’s opera Orfeo, published in 1609, includes a preliminary “Toccata” ...
Monteverdi’s “Amor, dicea” (Lamento della ninfa), appearing in his Eighth Book of Madrigals publishe...
In efforts to prove the transition from modality to tonality in the late Renaissance era, this paper...
A relatively long letter from Giuseppe Verdi to the Florentine vocal director Pietro Romani, reprodu...
Between 1607 and 1609, the Milanese professor of rhetoric, Aquilino Coppini (d. 1629), published thr...
This thesis sets out to discover the beginnings of the modern conception of the orchestra and orches...
This dissertation will investigate the use of wind instruments in the operas of Wolfgang Amadeus Moz...
This is a 1914 thesis by Charlotte Anderson entitled, "The Development of the Opera"
The Orchestra in the Theatre – Composers, Works, and Performance is part two of the publication The ...