DOCSLIB.ORG

San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012 San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012 Instructor: Gordon Haramaki Office Location: MUS 107 Telephone: (408) 924-4634 Email: [email protected] Please include “201” in the subject line of your email. Office Hours: Monday/Wednesday/Thursday, 10:00-12:00 Class Days/Time: Thursday 4:00-6:30 PM Classroom: MUS 272 Prerequisites: Graduate Classified standing, or consent of instructor http://www.sjsu.edu/people/gordon.haramaki/courses/monteverdi/ Copies of the course materials such as the syllabus, major assignment handouts, etc. may be found on my faculty web page accessible through the Quick Links>Faculty Web Page links on the SJSU home page. You are responsible for regularly checking with the messaging system through MySJSU (or other communication system as indicated by the instructor). Course Description Course Description Often called the “Father of Modern Music,” composer Claudio Monteverdi (1567-1643) lived from the last stages of the Renaissance Humanism in the late sixteenth-century princely courts of Northern Italy to the beginnings of both absolutist monarchies and of the Baroque aesthetic in the seventeenth century that mark the beginning of the modern era. Over the course of his long life, Monteverdi explored the Renaissance musical constructions of selfhood in the madrigal, and well as championing the free treatment of dissonance for the musical expression (affect) of a text, and helped contribute to the newly formed genre of opera and the development of the Baroque style. Seminar discussions and presentations by course members will be held weekly, and will cover a selection of various aspects of Monteverdi’s work, from his Mantuan madrigals to his Venetian operas. MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 1 of 13 Course Goals and Student Learning Objectives Upon successful completion of this course, students will be able to: 1. Recognize and communicate their understanding of the history, classification of the major genres, styles, and formal characteristics of Monteverdi’s music. 2. Comprehend Early Modern modal tonal language and practice, and early modern notation. 3. Analyze, express, the expressive and affective concepts and ideas within Claudio Monteverdi’s musical work. 4. Know, explain, and criticize the contemporaneous and contemporary discourse surrounding Monteverdi’s music, utilizing descriptive elements such as tempo, timbre, range, form, style, and genre, as well as to negotiate and reference the philosophical, aesthetic manifestos and agendas upon which they are built. 5. Develop, organize, and write a critical paper on an aspect of Monteverdi’s music, using correct grammar, appropriate language, constructing effective arguments, using pertinent supporting material, and including appropriate editorial mechanics and standards for citing primary and secondary sources. 6. Give an effective 20-minute oral presentation to their peers on the topic of their critical paper. Required Texts/Readings Textbooks Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987). ISBN: 978-0520069800 The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). ISBN: 978-0521697989 Tim Carter and Geoffrey Chew, “Monteverdi [Monteverde], Claudio (Giovanni [Zuan] Antonio)” at Oxford Music Online (www.oxfordmusiconline.com) Other Readings Copies of the course syllabus and other assigned readings may be found on my faculty web page accessible through the quick links/faculty web page links on the SJSU home page (address above) Students will need to access scores of Monteverdi’s music, available in our library at: Tutte le opere di Claudio Monteverdi A cura di G. Francesco Malipiero. [Wien] : Universal Edition, [1960?]-1968. M3 .M78 1960x MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 2 of 13 Scores of many of Monteverdi’s works are also available through the IMSLP database at: http://imslp.org/wiki/Category:Monteverdi,_Claudio Other material requirements Students will need to be able to access recordings of the musical works under discussion either through the Martin Luther King Jr. Library, or through downloads. Many recordings of Monteverdi’s works are available through the Martin Luther King, Jr. Library with the Naxos Music Library at: http://sjsu.naxosmusiclibrary.com/ Library Liaison Linda Crotty Spring 2012 Reference Desk M, 12-1/3-4; W, 1-2; Th, 2-3. (408) 808-2636 Email: [email protected] Classroom Protocol Students are expected to read their assignments before class, arrive on time, bring their materials to class, and actively participate lively and reasoned discussion. Please turn off cellphones, pagers, and other electronic messaging devices during class. Dropping and Adding Students are responsible for understanding the policies and procedures about add/drop, grade forgiveness, etc. Refer to the current semester’s Catalog Policies section at http://info.sjsu.edu/static/catalog/policies.html. Add/drop deadlines can be found on the current academic calendar web page located at http://www.sjsu.edu/academic_programs/calendars/academic_calendar/. The Late Drop Policy is available at http://www.sjsu.edu/aars/policies/latedrops/policy/ . Students should be aware of the current deadlines and penalties for dropping classes. Information about the latest changes and news is available at the Advising Hub at http://www.sjsu.edu/advising/ . Assignments and Grading Policy Grading is based on satisfactory performance of the course requirements. No extra credit will be given. Written assignments will be graded according to: correctly following assignment questions and/or guidelines; originality and quality of content; correct use and spelling of names, dates, titles, technical terms, and concepts; legibility and completeness. MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 3 of 13 Grade Scale and Percentage System A+ = 100-97% A = 96-93% A- = 92-90% B+ = 89-87% B = 86-83% B- = 82-80% C+ = 79-77% C = 76-73% C- = 72-70% D+ = 69-67% D = 66-63% D- = 62-56% F = 55 % and below Late Policy Late papers will be accepted without penalty in the case of serious problems (illness, death in the family, etc.). Late penalties apply in cases where there are not serious mitigating circumstances. If you know that you will be turning in an assignment late, please contact me as soon as possible. Preparation of reading of materials and participation in discussion (20%) Active participation in by all participants in graduate seminar is the main ingredient of a successful seminar. Please be prepared for discussion by coming to class having read the day’s reading material. Recording Comparison (10%) Students will listen to two different recordings of one of Monteverdi’s works and write a five- page discussion. Score Transcription (10%) Students will transcribe a seventeenth-century score into modern notation. Critical paper (60% total) 1. Annotated Bibliography (10%) 2. 500-Word Abstract of Paper (10%) 3. 20 page Critical paper (30%) 4. Presentation of your critical paper (10%) at our final meeting. This assignment is broken down into four components, each with its own grade. The assignment is structured in this way in order to emphasize the importance of process and revision for your term paper. The care and responsiveness you take will determine your grade at each phase of the assignment. To this end, you must hand in each phase of the assignment. MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 4 of 13 The proposal is an informal presentation of your possible project. The Annotated Bibliography will help both find and evaluate 10-15 sources, and to prepare for correct bibliographic citation. For the Abstract you will create a description of your project, its main argument, what you will use to support that argument, and why anyone should care. The Final Paper should be the best expression of your critical essay in considered, polished, and corrected prose. Students will present a conference-style summary of their critical paper (approx. 20 minutes) to the class. University Policies Academic integrity Students should know that the University’s Academic Integrity Policy is available at http://sa.sjsu.edu/judicial_affairs/faculty_and_staff/academic_integrity/index.html. Your own commitment to learning, as evidenced by your enrollment at San Jose State University and the University’s integrity policy, require you to be honest in all your academic course work. Faculty members are required to report all infractions to the office of Student Conduct and Ethical Development. The Student Conduct and Ethical Development website is available at http://www.sa.sjsu.edu/judicial_affairs/index.html. Instances of academic dishonesty will not be tolerated. Cheating on exams or plagiarism (presenting the work of another as your own, or the use of another person’s ideas without giving proper credit) will result in a failing grade and sanctions by the University. For this class, all assignments are to be completed by the individual student unless otherwise specified. If you would like to include in your assignment any material you have submitted, or plan to submit for another class, please note that SJSU’s Academic Policy F06-1 requires approval of instructors. Campus Policy in Compliance with the American Disabilities Act If you need course adaptations or accommodations because of a disability, or if you need to make special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities requesting accommodations must register with the Disability Resource Center (DRC) at http://www.drc.sjsu.edu/ to establish a record of their disability. Student Technology Resources Computer labs for student use are available in the Academic Success Center located on the 1st floor of Clark Hall and on the 2nd floor of the Student Union.
Load more

Recommended publications
  • MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
    detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials.
    [Show full text]
  • AMS Newsletter February 2014
    AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLIV, NUMBER 1 February 2014 ISSN 0402-012X AMS Milwaukee 2014: Not Just 2013 Annual Beer, Brats, and Cheese Meeting: Pittsburgh AMS Milwaukee 2014 venues right in the downtown area, includ- The seventy-ninth Annual Meeting of the 6–9 November ing the Marcus Center for the Performing American Musicological Society took place www.ams-net.org/milwaukee Arts, home of the Milwaukee Symphony, the 7–10 November among the bridges, rivers, Florentine Opera, and the Milwaukee Bal- and hills of Pittsburgh’s Golden Triangle. Members of the AMS and the SMT will let. Pabst Theatre and the nearby Riverside The program was packed to the gills, with converge on Milwaukee, Wisconsin, in No- Theatre are home to regular series and the an average of seven concurrent scholarly ses- vember for their annual meetings. Situated Milwaukee Repertory Company. The large sions plus numerous meetings by the Soci- on the west shore of Lake Michigan about Milwaukee Theatre hosts roadshows. The ety’s committees, study groups, and editorial ninety miles north of Chicago, Milwaukee is downtown also boasts two arenas hosting boards, as well as lectures and recitals select- known as the Cream City not because Wis- sporting events and touring acts. The Broad- ed by the Performance Committee. Papers consin is America’s Dairyland, but because way Theatre presents smaller events, includ- and sessions spanned the entire range of the of the ubiquity of cream-colored brick used ing local theater companies and the Skylight field, from the origins of Christian chant to in the city’s oldest buildings.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Opera Origins
    OPERA ORIGINS l)y ERt^^A LOUISE BOLAN B. A. , Ottawa University, 1952 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Departirient of Kusic KANSAS STATE UNIVERSITY Manhattan, Kansas 1968 _o Approved l^:. ih*-^ .-_-c^ LiacZ Major I^ofesst^ ii /^^ - . BG^' table of contents Page ^^^ INTRODUCTIOII • Chapter I. THE FOK^'S OF MUSICAL DRM^A BEFORE 1594 1 LITURGICAL DRill^^A 1 MYSTERIES 3 SECUL.AR DR/U'lATIC MUSIC 5 6 Masche):ata , Masque , and Ballet Intei-ir.edio " Madrigal Forras H Pastoral e Drama • 12 II. THE EMERGENCE OF OPERA THROUGH THE ZiWM^k 15 - 17 . MONODY THE GREEK WAY DAFNE 25 EURIDICE 27 MOKTETORDI AND ORFEO 31 ACKT>IOV.?LEDGl'ni;NT 33 BIBLICGRAPHI 34 INTRODUCTION In trying to reconstruct and assess the main features of any historical event, it is difficiilt to find the starting point. The history of opera is no exception. We find varying degrees of impor- tance given certain events by different v/riters. We find va-iters who see the music and drama combination of the Middle Ages and the Renais- sance as seeds of opera, and others feeling there is no significant connection. Ho\rever, in the inindo of the members of the "Florentine Caraerata," long since recognized as the originators of opera, there v;as no doubt as to the origin of their idea. Creek trsigedy, as they under- stood it, was the sole basis of their experiments. And yet, little is knovm of the part music really played in Greek drama, the one extant example being a very short mutilated fragment of imison melody from a chorus of Euripides' Orestes (^^08 b.c), and even this was not knovm to the early opera composers.
    [Show full text]
  • Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
    Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1.
    [Show full text]
  • The Aquitanian Sacred Repertoire in Its Cultural Context
    THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces.
    [Show full text]
  • Western Culture Has Roots in Ancient
    24 11. Statement: These musical/theatrical genres needed an interest in ancient Greek drama in order for opera to Chapter 14 come to life. The Invention of Opera 12. What were the two views of music in ancient Greek tragedy? 1. [307] What is the etymology of the word opera? Give a Only the choruses were sung (Andrea Gabrieli, 1585, Oedipus definition. Rex); the play was sung throughout (Girolamo Mei) Italian for work; a drama with continuous, or nearly continuous, music that is staged with scenery, costumes, 13. (310) What were Mei's conclusions? and action Single melody sung by a soloist or chorus with or without accompaniment. The melody (register, rhythms, tempo) 2. Do the same for libretto. could have a powerful effect on the listener Italian for little book; usually a play in rhymed or unrhymed verse 14. What was the Florentine camerata? Who were its members? 3. What are the two viewpoints of opera's origin? Circle or association (an academy); Bardi, Galilei, Caccini, 1. Recreate ancient Greek tragedy (a drama, sung throughout, (Peri) in which music conveys the emotional effects) 2. Blend of existing genres (plays, theatrical spectacles, dance, 15. What was Galilei's published work? madrigals, and solo song) Dialogo della musica antica et della moderna, 1581. Polyphony can't accurately represent the emotional 4. List briefly the distant precedents. meaning of text; word painting and such were childish Choruses and principal lyric speeches in the plays of Euripides and Sophocles were sung; liturgical plays; Renaissance 16. What genre resulted? Definition, please. plays often had songs or offstage music Monody; accompanied solo singing 5.
    [Show full text]
  • AMS/SMT Milwaukee 2014 Abstracts Thursday Afternoon
    AMS/SMT American Musicological Society Society for Music Theory Program & Abstracts & Abstracts Program 2014 Milwaukee Milwaukee 6-9 November 2014 Abstracts g Abstracts of Papers Read at the American Musicological Society Eightieth Annual Meeting and the Society for Music Theory Thirty-seventh Annual Meeting 6–9 November 14 Hilton Hotel and Wisconsin Center Milwaukee, Wisconsin g AMS/SMT 2014 Annual Meeting Edited by Judy Lochhead and Richard Will Chairs, 14 SMT and AMS Program Committee Local Arrangements Committee Mitchell Brauner, Chair, Judith Kuhn, Rebecca Littman, Timothy Miller, Timothy Noonan, Gillian Rodger Performance Committee Catherine Gordon-Seifert, Chair, Mitchell Brauner, ex officio, David Dolata, Steve Swayne Program Committees AMS: Richard Will, Chair, Suzanne Cusick, Daniel Goldmark, Heather Hadlock, Beth E. Levy, Ryan Minor, Alejandro Planchart SMT: Judy Lochhead, Chair, Poundie Burstein, ex officio, Michael Klein, Sherry Lee, Alexander Rehding, Adam Ricci, Leigh VanHandel The AMS would like to thank the following people and organizations for their generous support: Calvary Presbyterian Church, Milwaukee Joan Parsley Charles Sullivan and Early Music Now Milwaukee Symphony Orchestra University of Wisconsin-Milwaukee Program and Abstracts of Papers Read (ISSN 9-1) is published annually for the An- nual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]).
    [Show full text]
  • Brown, Orange, and Blue Gamelan Is Back at Illinois!
    SPRING 2007 The News Magazine of the University of Illinois School of Music Brown, Orange, and Blue Gamelan is Back at Illinois! Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign. Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor.
    [Show full text]
  • Displays of Medici Wealth and Authority: the Acts of the Apostles and Valois Fêtes Tapestry Cycles
    University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2019 Displays of Medici Wealth and Authority: The Acts of the Apostles and Valois Fêtes Tapestry Cycles Madison L. Clyburn University of Central Florida Part of the Classical Archaeology and Art History Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Clyburn, Madison L., "Displays of Medici Wealth and Authority: The Acts of the Apostles and Valois Fêtes Tapestry Cycles" (2019). Honors Undergraduate Theses. 523. https://stars.library.ucf.edu/honorstheses/523 DISPLAYS OF MEDICI WEALTH AND AUTHORITY: THE ACTS OF THE APOSTLES AND VALOIS FÊTES TAPESTRY CYCLES by MADISON LAYNE CLYBURN A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts & Humanities and in the Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term, 2019 Thesis Chair: Margaret Ann Zaho, Ph.D. © 2019 Madison Layne Clyburn ii ABSTRACT The objective of my research is to explore Medici extravagance, power, and wealth through the multifaceted artistic form of tapestries vis-à-vis two particular tapestry cycles; the Acts of the Apostles and the Valois Fêtes. The cycles were commissioned by Pope Leo X (1475- 1521), the first Medici pope, and Catherine de’ Medici (1519-1589), queen, queen regent, and queen mother of France.
    [Show full text]
  • Small-Scale Opera: History and Continuing Relevance in the 21St Century
    SMALL-SCALE OPERA: HISTORY AND CONTINUING RELEVANCE IN THE 21ST CENTURY Joel B. Trisel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Committee: Katherine Meizel, Advisor Christopher Scholl Kevin Bylsma ii ABSTRACT Katherine Meizel, Advisor This paper explores the history and recent rise in popularity of small-scale opera. Small- scale opera, originally referred to as chamber opera, and recently referred to as “Micro-opera”, “NANOWorks”, et cetera, has gained popularity in the past forty years due to artistic and financial reasons. The genre reflects the need for companies to find financially viable ways to continue to produce and perform classical music in a poor economic climate. The short length and relatively simple plots of the works in this genre also reflect the shift in media consumption on a broad level in the United States. While the genre is growing in popularity today, it has ties to historical practices, including some of the first documented operas written in the Baroque period. This paper provides a historical account of iterations of small-scale opera and culminates in interviews with professionals working in the field today. Through my research, I conclude that the genre is likely to succeed in the 21st century. This is due to the financial viability small-scale opera affords to both those producing and attending these works. Small-scale opera provides composers with a flexible medium in which they can explore writing sung drama that is substantially more likely to be produced than full-length works.
    [Show full text]
  • Anthology of Music for Analysis
    American Musicological Society Ars Hispana Editions Society for Music Theory New Series of Early Spanish Music Four series of rare music from the 17th and 18th centuries. San Antonio Volumes include complete scores, as well as introductory material and critical notes in Spanish. Subscribers receive 10% off all retail prices! MÚSICA VOCAL Highlights include: Francisco Corsell i, Cuatro Antifonias Marianas, €36 Juan Hidalgo, Obras Sacras, Vol. 1 €32 José de Nebra, Cantadas Sacras, Vol. 1 €32 MÚSICA INSTRUMENTAL Highlights include: Jacinto Codina Marfá, Concierto para Fortepiano €36 Jaime Rosquellas, Tres Sonatas Para Violín y Bajo €20 MÚSICA ENSÉNICA Highlights include: Sebastian Durón, Coronis €60 Sebastian Durón, Ópera Escénica Deducida de la Guerra de Los Gigantes €48 Sebastian Durón and Juan de Navas, Apolo y Dafne €64 ORATORIOS Pedro Rabassa , La gloria de los santos €36 For complete listings visit www.tfront.com 26362 Ruether Avenue Santa Clarita, CA 91350 Tel: 661-250-7189 email: [email protected] web: www.tfront.com 1-4 November 2018 Program & Abstracts OXFORD MUSIC CARL PHILIPP EMANUEL BACH he omplete orks “[T]his complete edition of the works of Carl Philipp Emanuel Bach . bears evidence of monumental planning and labor . [it] will undoubtedly rate as a landmark edition, with handsome pro- duction values to match the level of scholarly endeavor . Having everything by C. P. E. Bach available in one format and on a large scale, carried out with the consistency and care that a collected edi- tion of this calibre can bring, is only what is (long) due to one of the most important names in eighteenth-century music.” —W.
    [Show full text]