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Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy.
Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy.
상세정보
- 자료유형
- 학위논문(국외)
- 기본표목-개인명
- 표제와 책임표시사항
- Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy.
- 발행, 배포, 간사 사항
- 발행, 배포, 간사 사항
- 형태사항
- 263 p.
- 일반주기
- Source: Dissertations Abstracts International, Volume: 86-11, Section: A.
- 일반주기
- Advisor: Ossi, Massimo M.
- 학위논문주기
- Thesis (Ph.D.)--Indiana University, 2025.
- 요약 등 주기
- 요약The accompanied solo song repertory known as monody flooded the Italian print marketplace during the early decades of the seventeenth century. Despite acknowledgement of its connections to a variety of established oral and improvisatory solo song practices, monody has continued to be defined as the result of a revival of Ancient Greek and Roman musical aesthetics in late sixteenth-century Florence. In this dissertation, I recontextualize the monodic repertory in relationship to the influential but more sparsely documented solo song practices of the previous century, a relationship theorized but not fully explored in existing scholarship. By examining the modi di cantar tradition as a bridge between oral and written solo song cultures, I argue that monody is better understood as the latest manifestation of a continuum of poetic performance practices as well as a reflection of a historical moment in which the concept of solo song completes a disciplinary shift from poetry to music. Modi di cantar, musical formulas for singing both epic and lyric forms of hendecasyllabic poetry, circulated orally and in notation throughout the sixteenth century, gradually disappearing during the first half of the seventeenth, displaced and replaced by increasingly accessible fixed forms of singing poetry in continuo and guitar songbooks. This project offers the first comprehensive study of notated modi di cantar, which underpins the interpretation of late examples in monody books as well as the influence of their formulaic and expressive principles in individually composed poetic settings. I further explore shifting concepts of poetic performance in the seventeenth century in a chapter devoted to the reception of the related tradition of cantare ad lyram, the rhapsodic oral performance of poetry to the lira da braccio or lute cultivated in fifteenth- and early sixteenth-century humanist contexts. Pairing these perspectives unveils the cultural nostalgia at the root of the modernism attributed to both lyric and dramatic monody.
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 주제명부출표목-일반주제명
- 비통제 색인어
- 비통제 색인어
- 비통제 색인어
- 비통제 색인어
- 비통제 색인어
- 비통제 색인어
- 부출표목-단체명
- 기본자료저록
- Dissertations Abstracts International. 86-11A.
- 전자적 위치 및 접속
- 원문정보보기
MARC
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■1001 ▼aBelt, Chelsey.▼0(orcid)0000-0003-0196-0006
■24510▼aRe-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy.
■260 ▼a[S.l.]▼bIndiana University. ▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a263 p.
■500 ▼aSource: Dissertations Abstracts International, Volume: 86-11, Section: A.
■500 ▼aAdvisor: Ossi, Massimo M.
■5021 ▼aThesis (Ph.D.)--Indiana University, 2025.
■520 ▼aThe accompanied solo song repertory known as monody flooded the Italian print marketplace during the early decades of the seventeenth century. Despite acknowledgement of its connections to a variety of established oral and improvisatory solo song practices, monody has continued to be defined as the result of a revival of Ancient Greek and Roman musical aesthetics in late sixteenth-century Florence. In this dissertation, I recontextualize the monodic repertory in relationship to the influential but more sparsely documented solo song practices of the previous century, a relationship theorized but not fully explored in existing scholarship. By examining the modi di cantar tradition as a bridge between oral and written solo song cultures, I argue that monody is better understood as the latest manifestation of a continuum of poetic performance practices as well as a reflection of a historical moment in which the concept of solo song completes a disciplinary shift from poetry to music. Modi di cantar, musical formulas for singing both epic and lyric forms of hendecasyllabic poetry, circulated orally and in notation throughout the sixteenth century, gradually disappearing during the first half of the seventeenth, displaced and replaced by increasingly accessible fixed forms of singing poetry in continuo and guitar songbooks. This project offers the first comprehensive study of notated modi di cantar, which underpins the interpretation of late examples in monody books as well as the influence of their formulaic and expressive principles in individually composed poetic settings. I further explore shifting concepts of poetic performance in the seventeenth century in a chapter devoted to the reception of the related tradition of cantare ad lyram, the rhapsodic oral performance of poetry to the lira da braccio or lute cultivated in fifteenth- and early sixteenth-century humanist contexts. Pairing these perspectives unveils the cultural nostalgia at the root of the modernism attributed to both lyric and dramatic monody.
■590 ▼aSchool code: 0093.
■650 4▼aMusic.
■650 4▼aItalian literature.
■650 4▼aHistory.
■653 ▼aLira da braccio
■653 ▼aMonody
■653 ▼aMonteverdi
■653 ▼aOral tradition
■653 ▼aRenaissance
■653 ▼aSong
■690 ▼a0413
■690 ▼a0220
■690 ▼a0578
■71020▼aIndiana University▼bSchool of Music.
■7730 ▼tDissertations Abstracts International▼g86-11A.
■790 ▼a0093
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17357405▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
