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 (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 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 , 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 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 to his Venetian .

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 , 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. Additional computer labs may be available in your department/college. Computers are also available in the Martin Luther King Library.

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 5 of 13 A wide variety of audio-visual equipment is available for student checkout from Media Services located in IRC 112. These items include digital and VHS camcorders, VHS and Beta video players, 16 mm, slide, overhead, DVD, CD, and audiotape players, sound systems, wireless microphones, projection screens and monitors.

Learning Assistance Resource Center The Learning Assistance Resource Center (LARC) is located in Room 600 in the Student Services Center. It is designed to assist students in the development of their full academic potential and to motivate them to become self-directed learners. The center provides support services, such as skills assessment, individual or group tutorials, subject advising, learning assistance, summer academic preparation and basic skills development. The LARC website is located at http:/www.sjsu.edu/larc/.

SJSU Writing Center The SJSU Writing Center is located in Room 126 in Clark Hall. It is staffed by professional instructors and upper-division or graduate-level writing specialists from each of the seven SJSU colleges. Our writing specialists have met a rigorous GPA requirement, and they are well trained to assist all students at all levels within all disciplines to become better writers. The Writing Center website is located at http://www.sjsu.edu/writingcenter/about/staff/.

Peer Mentor Center The Peer Mentor Center is located on the 1st floor of Clark Hall in the Academic Success Center. The Peer Mentor Center is staffed with Peer Mentors who excel in helping students manage university life, tackling problems that range from academic challenges to interpersonal struggles. On the road to graduation, Peer Mentors are navigators, offering “roadside assistance” to peers who feel a bit lost or simply need help mapping out the locations of campus resources. Peer Mentor services are free and available on a drop –in basis, no reservation required. The Peer Mentor Center website is located at http://www.sjsu.edu/muse/peermentor/

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 6 of 13 MUSC 201 / Studies in Music History—Monteverdi, Spring 2012, Course Schedule

Course schedule is subject to change with fair notice: schedule and due-date changes will be announced in class.

Week Date Topics, Readings, Assignments, Deadlines

1 Jan. 26 Introduction to Course: Claudio Monteverdi (1567-1643) 2 Feb. 2 Monteverdi and His World *Tim Carter and Geoffrey Chew, “Monteverdi [Monteverde], Claudio (Giovanni [Zuan] Antonio),” “1. Cremona,” “2. Mantua,” and “10. Historical Position.” *Anthony Pryer, “Approaching Monteverdi: His Culture and Ours” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). *Gary Tomlinson, “Introduction” and “Oppositions in Late Renaissance Thought: Three Case Studies” in Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987). *Tim Carter, “Musical Sources” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Denis Stevens, The Letters of Claudio Monteverdi, rev. edition, (Oxford: Clarendon Press, 1995). [excerpts] William J. Bouwsma, “The Culture Community of Europe,” “The Liberation of the Self,” “The Liberation of Knowing,” “The Liberation of Time” in The Waning of the Renaissance: 1550-1640 (New Haven: Press, 2000). Peter Holman, “‘Col nobilissimo esercitio della vivuola’: Monteverdi’s String Writing,” Early Music 21, No. 4 (Nov. 1993): 576-590. 3 Feb. 9 The Madrigal , The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and (Princeton: Press, 1949). [excerpts] Susan McClary, “Introduction: The Cultural Work of the Madrigal,” Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press, 2004).

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 7 of 13 Week Date Topics, Readings, Assignments, Deadlines

Bonnie Gordon, “Madrigalian Desire: The Convergence of Love and Sex in Madrigals,” Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy, (Cambridge: Cambridge University Press, 2004). 4 Feb. 16 Doing Things with Modes Score due Susan McClary, “I Modi,” Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press, 2004). Eric Chafe, “Introduction: Tonality and ‘Word’,” Monteverdi’s Tonal Language (New York: Schirmer Books, 1992). Eric Chafe, “Basic Issues in Seventeenth-Century Tonality,” Monteverdi’s Tonal Language (New York: Schirmer Books, 1992). Eric Chafe, “Mode and System,” Monteverdi’s Tonal Language (New York: Schirmer Books, 1992). Eric Chafe, “Analytical Questions: Two Madrigals Compared,” Monteverdi’s Tonal Language (New York: Schirmer Books, 1992). *Geoffrey Chew, “Intermedio I: ‘Ecco mormorar l’onde (1590),” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). 5 Feb. 23 The Early Works and Maturity: Madrigal Books I-IV *Geoffrey Chew, “A Model Musical Education: Monteverdi’s Early Works,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). *Gary Tomlinson, “Youthful Imitatio and the First Discovery of Tasso” in Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987). *Gary Tomlinson, “Wert, Tasso, and the Heroic Style” and “Guarini and the Epigrammatic Style” in Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987). *Massimo Ossi, “The Mantuan Madrigals and Scherzi Musicali,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Alfred Einstein, The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton: Princeton University Press, 1949). [excerpts]

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 8 of 13 6 Mar. 1 Late Renaissance Court Culture Recording Comparison due Roger Bowers, “Monteverdi at Mantua, 1590-1612,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Paola Besutti, “Spaces for Music in Late Renaissance Mantua,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Baldasare Castglione, The Courtier [excerpt] Gary Tomlinson, “Twice Bitten, Thrice Shy: Monteverdi's ‘finta’ ‘Finta pazza’,” Journal of the American Musicological Society 36, No. 2 (Summer, 1983): 303-311. Albi Rosenthal, “Monteverdi’s ‘Andromeda’: A Lost Libretto Found,” Music & Letters 66, No. 1 (Jan., 1985): 1-8. Letters 1618-1620. John Shearman, Mannerism (Hammondsworth: Penguin Books, 1967). 7 Mar. 8 The Seconda Prattica and the Artusi Controversy (Book V) Denis Arnold, Monteverdi Madrigals, 29-38. G. M. Artusi, excerpt from L’Artusi, and Claudio Monteverdi, Foreword to Il quinto libro de’ madrigali with the “Declaration” of Giulio Cesare Monteverdi, in Oliver Strunk, Source Readings in Music History (New York: W. W. Norton, 1950), 393-412. Claude V. Palisca, ”The Artusi-Monteverdi Controversy,” in T he New Monteverdi Companion, ed. Denis Arnold and Nigell Fortune (London and Boston: Faber and Faber, 1985), 127-58. Susan McClary, “The Mirtillo/Amarilli Controversy: Monteverdi,” Modal Subjectivities: Self-Fashioning in the Italian Madrigal (Berkeley: University of California Press, 2004). Suzanne G. Cusick, “Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy, Journal of the American Musicological Society, 46, No. 1 (Spring, 1993): 1-25. Massimo Ossi, “The Public Debate, I: Prima and Seconda Prattica,” in Divining the Oracle: Monteverdi’s Seconda Prattica, (Chicago, The Press, 2003). Alfred Einstein, The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton: Princeton University Press, 1949). [excerpts]

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 9 of 13 8 Mar. 15 The Creation of Opera Bibliography due Tim Carter, “Monteverdi and the ‘Problems of Opera’,” “Monteverdi on the Late Renaissance Stage,” “Monteverdi and His Librettists,” and “The Art of Theatre,” in Monteverdi’s Musical Theatre (New Haven: Yale University Press, 2002). Mauro Calcagno, “Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater,” Journal of the American Musicological Society 55, No. 3 (Winter 2002): 383-431. Denis Stevens, The Letters of Claudio Monteverdi, rev. edition, (Oxford: Clarendon Press, 1995). [excerpts] 9 Mar. 22 L’Orfeo Video

10 Mar. 29 SPRING RECESS

11 April 5 L’Orfeo (1607) Abstract due *Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987), 131-41. *Joachim Steinheuer, “Orfeo (1607),” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Susan McClary, “Constructions of Gender in Monteverdi's Dramatic Music,” Cambridge Opera Journal 1, No. 3 (Nov., 1989): 203-223. Tim Carter, “Possente spirto: On Taming the Power of Music,” Early Music 21, No. 4, Monteverdi I (Nov., 1993): 517-520+522-523. Tim Carter, “Orfeo (1607),” in Monteverdi’s Musical Theatre (New Haven: Yale University Press, 2002). Massimo Ossi, “Claudio Monteverdi's ‘Ordine novo, bello et gustevole’: The Canzonetta as Dramatic Module and Formal Archetype,” Journal of the American Musicological Society 45, No. 2 (Summer, 1992): 261-304. Virginia Christy Lamothe , “Dancing at a Wedding: Some Thoughts on Performance Issues in Monteverdi’s ‘Lasciate i monti’ (Orfeo,1607), Early Music 36, No. 4 (2008):533-546. Stephen Stubbs, “L’armonia sonora: Continuo Orchestration in Monteverdi’s Orfeo,” Early Music 22 (February 1994): 87-98. Denis Stevens, The Letters of Claudio Monteverdi, rev. edition, (Oxford: Clarendon Press, 1995). [excerpts]

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 10 of 13 12 April 12 Arianna (1608) and the Ninfa: Monteverdi and Gender Issues *Gary Tomlinson, “Guarini, Rinuccini, and the Ideal of Musical Speech” in Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987). *Tim Carter, “Intermedio IV: Lamento della Ninfa (1638),” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Tim Carter, “Approaching the Lost Works,” in Monteverdi’s Musical Theatre (New Haven: Yale University Press, 2002). Suzanne G. Cusick,” ‘There Was Not One Lady Who Failed to Shed a Tear’: Arianna's Lament and the Construction of Modern Womanhood ,” Early Music 22, No. 1, Monteverdi II (Feb., 1994): 21-32+35-38+41-43. Tim Carter, “Lamenting Ariadne?” Early Music 27, No. 3, Laments (Aug., 1999): 395-405. Anne MacNeil, “Weeping at the Water’s Edge,” Early Music 27, No. 3, Laments (Aug., 1999): 406-417. Suzanne G. Cusick, “Re-Voicing Arianna (And Laments): Two Women Respond, Early Music 27, No. 3, Laments (Aug., 1999): 436-438+441-445+447-449. Lorenzo Bianconi, “Formal and Dramatic Convention: The Lament, “ Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). 13 April 19 Marinism: Madrigal Books VI and VII *Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987), 151-96. Alfred Einstein, The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton: Princeton University Press, 1949). [excerpts] Lorenzo Bianconi, “Giovan Battista Marino and the Poesia per Musica, “ Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). Lorenzo Bianconi, “Claudio Monteverdi before 1620,” Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). Lorenzo Bianconi, “The ‘Crisis’ of the Seventeenth Century,” and “‘Concerto’,” in Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). Gordon Haramaki, “‘In grembo a Citherea’: the representation of ingenium and ars in Claudio Monteverdi’s Tempro la cetra.” Early Music 39, No. 4 (Nov. 2011): 503-518.

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 11 of 13 Massimo Ossi, “The Blurring of Genres in Individual Madrigals,” and “‘Con che soavità’,” in in Divining the Oracle: Monteverdi’s Seconda Prattica, (Chicago, The University of Chicago Press, 2003). Massimo Ossi, “‘Pardon me, but your teeth are in my neck’: Giambattista Marino, Claudio Monteverdi, and the bacio mordace,” The Journal of 21, No. 2 (Spring 2004): 175-200. 14 April 26 Venice *Tim Carter and Geoffrey Chew, “Monteverdi [Monteverde], Claudio (Giovanni [Zuan] Antonio),” “3. Venice,” and “Works from the Venetian Years.” *Iain Fenlon, “Music in Monteverdi’s Venice,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Lorenzo Bianconi, “Monteverdi after 1620,” in Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). Tim Carter, “The Venetian Secular Music,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). Ellen Rosand, “Monteverdi’s Late Operas,” in The Cambridge Companion to Monteverdi, ed. John Whenham and Richard Wistreich (Cambridge: Cambridge University Press, 2007). 15 May 5 The Apocalypse: The Late Madrigal and Book VIII *Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987), 197-214. Claudio Monteverdi, Foreword to Madrigali guerrieri et amorosi, in Oliver Strunk, Source Readings in Music History, in Oliver Strunk, Source Readings in Music History (New York: W. W. Norton, 1950), 413-15. Alfred Einstein, The Italian Madrigal, trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk (Princeton: Princeton University Press, 1949). [excerpts] Bonnie Gordon, “Angry Ladies: Changing Experiences of Sensation,” Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy, (Cambridge: Cambridge University Press, 2004). Gordon Haramaki, “Introduction: Monteverdi and the Poetics of Genre,” Beyond the Seconda Prattica: Claudio Monteverdi and the Poetics of Genre after Orfeo, Ph.D. dissertation, UCLA 2008. Gordon Haramaki, “The Battleground of Subjectivity: Deconstructing Representation in Monteverdi’s Combattimento di Tancredi e Clorinda,” Beyond the Seconda Prattica: Claudio Monteverdi and the Poetics of Genre after Orfeo, Ph.D. dissertation, MUSC 201, Studies in Music UCLAHistory: Monteverdi,2008. 30020, Spring 2012 Page 12 of 13 Monteverdi and the Poetics of Genre after Orfeo, Ph.D. dissertation, UCLA 2008. 16 May 3 Poppea (1643) *Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley: University of California Press, 1987), 215-260. Tim Carter, “L’incoronazione di Poppea (1643),” in Monteverdi’s Musical Theatre (New Haven: Yale University Press, 2002). Lorenzo Bianconi, “The Historiography of Opera,” “Opera before 1637,” and “Venetian Theaters,” in Music in the Seventeenth Century, trans. David Bryant (Cambridge: Cambridge University Press, 1987). Ellen Rosand, “Did Monteverdi Write L'Incoronazione di Poppea and Does It Matter?,”Opera News 59, no. 1 (July 1994): 20-23. Ellen Rosand, “Monteverdi's Mimetic Art: L’incoronazione di Poppea,” Cambridge Opera Journal 1 (July 1989): 113-37. John Bokina, “Deity, Beast, and Tyrant: Images of the Prince in the Operas of Monteverdi,” International Political Science Review / Revue internationale de science politique 12, No. 1, The Politics of Art/Art et politique (Jan., 1991): 48-66. Ellen Rosand, “Seneca and the Interpretation of L’Incoronazione di Poppea,” Journal of the American Musicological Society 38 (1985): 34-71. Denis Stevens, The Letters of Claudio Monteverdi, rev. edition, (Oxford: Clarendon Press, 1995). [excerpts] 17 May 10 Presentations Final Monday Presentations May 24, Papers due 5:15-7:30 PM

MUSC 201, Studies in Music History: Monteverdi, 30020, Spring 2012 Page 13 of 13