Combining a close study of Monteverdi’s secular works with recent research on late Renaissance history, Gary Tomlinson places the composer’s creative career in its broad cultural context and illuminates the state of Italian music, poetry, and ideology in the sixteenth and seventeenth centuries.
Table of Content
Preface
Introduction
1
Oppositions in Late-Renaissance Thought:Three Case Studies
The Perfection of Musical Rhetoric
Youthful Imitatio and the First Discovery
of Tasso (Books I and II)
3
Wert, Tasso, and the Heroic Style (Book III)
4
Guarini and the Epigrammatic Style (Books III and IV)
EXCURSUS 1
A Speculative Chronology
of the Madrigals of Books IV and V
5
Guarini, Rinuccini, and the Ideal of Musical Speech
EXCURSUS 2
The Reconciliation of Dramatic and Epigrammatic Rhetoric in the Sestina of Book VI
The Emergence of New Ideals
6
Marino and the Musical Eclogue (Book VI)
7
Marinism and the Madrigal, I (Book VII)
8
Marinism and the Madrigal, II (Developments after Book VII)
9
The Meeting of Petrarchan and Marinist Ideals (The Last Operas)
The End of the Renaissance
10
Monteverdi and Italian Culture, 1550-1700
Works Cited PAGE
Index of Monteverdi’s Works and Their Texts
General Index
About the author
Gary Tomlinson is Professor of Music at the University of Pennsylvania and a 1988 Mac Arthur Fellow.
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