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Research paper on claudio monteverdi
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Claudio Monteverdi, the influence and inspirations
Alexander Lee
Claudio Monteverdi is considered to be one of, if not the most significant transformer of European music. A genius since childhood, Monteverdi was a creative and dominant musician. Though a good number of his compositions were famous with other musicians and composers, on the other hand, shaped the musical compositions of ages that followed. As the melodic atmosphere in Europe changed, Monteverdi modernized his vision of music. He had the ability to write completely two different expositions on composition. His original ideas and global inspiration was facilitated and fashioned by his teachers and surroundings. These in turn, guided the sixteenth and seventeenth century musical compositions of Europe into the initial baroque era. Despite his gift and outstanding teachers, Monteverdi could not have attained the respect and influence that he did as a composer, had it not been for the external influences. The turbulent environment surrounding Monteverdi, both political as well as musical were vital to his
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Monteverdi learnt music at the Cathedral of Cremona, under the tutelage of the distinguished musician, Marcantonio Ingegneri. Though far yet from the revolutionary style, Monteverdi’s teacher wrote madrigals in the latest style of the 1570s. The brilliant talent of Monteverdi for music was very noticeable and well illustrated by the publication of his two madrigal books in 1587 and 1590 by the most recognized Venetian printers. The madrigals of the student were more beautiful and to an extent, more progressive than those of his teacher, Ingegneri. Perchance, this is correctly accredited to Monteverdi’s reviewing and analyzing of Luca Marenzio’s (1553-1599) works of art, the then greatest Italian madrigalist of the time (Arnold,
It is a long-with-standing stereotype that Italians love to gamble. This is true. My great grandfather, Pasquale Giovannone, played the riskiest hand of cards when he immigrated to the United States as an illegal stowaway at the age of thirteen. He forged a life for himself amidst the ever-changing social and political shifts of the early nineteenth century. The legacy he left would later lead to the birth of my father, John Giovannone, in Northern New Jersey in 1962.
...ugh the publication of his madrigals in Nicholas Yonge’s 1588 publication Musica transalpine, in which, Marenzio’s works were second in number. It is believed that Dowland went to Italy with the intention of meeting and possibly even studying with Marenzio in Rome, although there is no evidence that the introduction ever occurred.
A rediscover of their history and recognition of early Greek philosophers changed the way that the influential families and Princes, in Italy, considered themselves. Their way of thinking of the Devine and need to promote one’s own aspirations through sponsorship of the arts, as well as, civic duty became not only fashionable but important to progress in the city states. Although Donatello’s David and Botticelli’s Primavera are master pieces in their own right, their influence on future generations of artists cannot be ignored. The spark that ignited the fire which we call the Renaissance was a transformation of societies thinking and values to a Humanistic approach to one duties to society and the church. These two works are a reflection of the changing attitudes which would eventually change all of
Harman, Alec, and Anthony Milner. Late Renaissance and Baroque Music. London: Barrie Books LTD., 1959. ML193.H37
It was an early age when Monteverdi’s career began, he then published his first pieces, and this was based on as a collection of three-voice motets, at the age of fifteen. It was by 1591, when he went to Mantua as a musician for the Gonzaga court, by then he had already published books of “spiritual madrigals” in 1583, then another canzonettas in 1584, by 1587 and 1590 he published his first two books of “madrigals.” It was in Mantua he continued writing madrigals, and then in 1607 he produced his first work in the new genre of opera, the setting was of Orfeo. 1613, he was then appointed maestro di cappella at ST. Mark’s Cathedral which was held in Venice. Monteverdi had remained in Venice for the rest of his life, writing music in all different kinds of genres, including his final opera, “incoronaszione di Poppea in 1642.
Vivaldi's music is particularly innovative as he gave brightness to the formal and the rhythmic structure of concertos. He repeatedly looked for harmonic contrasts, creating innovative melodies and themes. Vivaldi’ main goal was to create a musical piece meant to be appreciated by the wide public, and not only by an intellectual minority. The joyful appearance of his music reveals a transmittable joy of composing. These are among the causes of the vast popularity of his music. This popularity soon made him famous also in countries like France, at the time very closed into its national schemes. He is considered one of the authors that brought Baroque music to evolve into an impressionist style.
appreciation. Because of these composers and musicians, music was enjoyed by the public and revered by the church. Because of their creativity and their willingness to take musical risks, these composers were the fathers of the Renaissance, the rebirth, the life of the vigorous and intellectual activity, the beginning of music.
There are two pieces in our Renaissance Era musical feature this evening, the first by Pierre Phalèse called Passamezzo d'Italye - Reprise – Gaillarde. Phalèse began as a bookseller in 1545 and not long after he set up a publishing house. By 1575 he had around 189 music books. Much of his work was devoted to sacred music but there was a small amount of Flemish songs and instrumental works. Phalèse borrowed work from many composers and did not hesitate to include other composer’s music in his works. The sec...
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
Baroque era covers the period between 1600 and 1750 beginning with Monte Verdi (birth of opera) and ended with deaths of Bach and Handel. The term baroque music is borrowed from the art history. It follows the Renaissance era (1400-1600). It was initially considered to be a corrupt way of Renaissance by conservatives. The dominant trends in Baroque music correspond to those in Baroque art and literature. Some features of Baroque art included a sense of movement, energy, and tension (whether real or implied). Strong contrasts of light and shadow enhance the effects of paintings and sculptures. Opera is one of the types of music in the Baroque era. It represented melodic freedom. Baroque era was usually referred to as the thorough-bass period. In early Baroque era no tonal direction existed, but experiments in pre-tonal harmony led to the creation of tonality. [1] Baroque genre included instrumental suite, ritornello, Concerto grosso and chant. There were important composers of the Baroque period such as Johann Sebastian Bach, George Frideric Handel, Antonio Vivaldi William Byrd Henry Purcell and George Phillip Telemann. Starting in northern Italy, the hierarchical state -- led by either the urban bourgeoisie or despotic nobles -- replaced the fluid and chaotic feudal system of the middle Ages. [2] For this reason, some historians refer to the Renaissance as the Early Modern Era. Sculptors, building on the techniques of artists such as Giovanni Bernini (1598-1680), found ways to create the illusion of energetic and even violent movement in their works. Painters created larger and more crowded canvases. Virtuosity was used in all the arts. The arts became an important measure of learning and culture. Music moved from the science of number to an expressive art viewed as an equal to rhetoric.
Imagine this! You and your friend are about to go to a party. However, your friend isn’t dressed up so satisfying. They ask you, “ Do I look good?” What would you say? I firmly believe that lying is unacceptable in our society.
Even though there was not enough information to state about Maddalena Casulana, she was the first Italian woman composer to ever have her musical pieces published and printed out for the public during the late Renaissance era around 1544-1590’s. Her talent of being able to play the lute and have a voice got her a lot of recognition amongst many other composers, female and male, from her time. In addition, the madrigals, which are several voices arranged in a way that they do not need any instrumental support, helped her gain the confidence that she already had to conduct for great composers and in front of royalties. Not much is known about where she was born but many followers who admired Casulana like author and astronomer Alessandro Picolmini, claimed that Casulana was born near Sienna, Italy.
Over the past several years, some amateur musicians have developed specific ideas about 'correct' performance practice of Baroque music. In an essay concerning the issues of Baroque music performance, Michael Sartorius notes that:
Harr, James. Essays on Italian Poetry and Music in the Renassisance: 1350-1600. Berkeley: University of California Press, 1986.
Patronage was one of the key building blocks of art in the Renaissance. The process can be defined as a sort of ‘exchange of interests’ between the patron and the artist. The aim of this essay is to point out the relationship between Benvenuto Cellini and Francis I, from the surface to the very core, according the development of Cellini's Autobiography, looking for traces of how patronage links both of them in some sense. To achieve our purpose, we will use Cellini's timeline as a reference and make a distinction between the relation and links with the King throughtout the time they shared as patron-artist.