The Italian Madrigal

@inproceedings{Einstein2019TheIM,
  title={The Italian Madrigal},
  author={Alfred Einstein and Alexander haggerty Krappe and Roger Sessions and W. Oliver Strunk},
  year={2019}
}

Dramaturgia Musical: Variações em Torno de sua Redefinição

Historically the attraction for multimedia events and their multitasking effectiveness has been an impetus for aesthetic achievements. From Mesopotamian epic performances to today's installations,

The Publications of Guglielmo Gonzaga

  • R. Sherr
  • Art
    Music and Musicians in Renaissance Rome and Other Courts
  • 2019

Music as a Sonic Record: Toward a Geography of Sixteenth-Century Vernaculars

abstract:As pieces designed for vocal performance and produced in ephemeral scripts, secular genres such as the French chanson and Italian madrigal record vernacular accents, dialects, and sounds

The “Gesualdo Case” in Contemporary Melodrama

My contribution will focus on Gesualdo’s luck in the opera. His legendary life of great prince of the late Italian Renaissance, his fame as an outstanding madrigalist at the sunset of polyphony, his

Italian Artistry, English Innovation: Thomas Watson's Italian Madrigalls Englished (1590)

The starr’s, which did at Petrarch’s byrthday raigne Were fixt againe at thy natiuity, Destening thee the Thuscan’s poesie, Who skald the skies in lofty Quatorzain, The Muses gaue to thee thy fatall

Women and Music in Sixteenth-Century Ferrara

The musica secreta or concerto delle dame of Duke Alfonso II d'Este, an ensemble of virtuoso female musicians that performed behind closed doors at the castello in Ferrara, is well-known to music

The SEILS Dataset: Symbolically Encoded Scores in Modern-Early Notation for Computational Musicology

This work presents the Symbolically Encoded Il Lauro Secco (SEILS) dataset, a new dataset of codified scores for use within computational musicology, focusing on a collection of Italian madrigals from the 16 century, a polyphonic secular a cappella composition characterised by strong musical-linguistic synergies.

The (un)Natural Baroque: Giambattista Marino and Monteverdi's Late Madrigals

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