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The Virtuoso's Idiom: Spectacularity...

Strand-Polyak, Lindsey Darlene.

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The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata./
Author:	Strand-Polyak, Lindsey Darlene.
Description:	220 p.
Notes:	Source: Dissertation Abstracts International, Volume: 74-10(E), Section: A.
Contained By:	Dissertation Abstracts International74-10A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3564319
ISBN:	9781303130977

The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata.
Strand-Polyak, Lindsey Darlene.

The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata. - 220 p.

Source: Dissertation Abstracts International, Volume: 74-10(E), Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2013.

In this dissertation, I study the development of the violinist's idiom through the solo violin sonata in Italy and Austria in the Seventeenth Century. In examining this development, I also study the professional lives of five composer/violinists: Giovanni Battista Fontana, Biagio Marini, Giuseppe Colombi, Heinrich Biber and Arcangelo Corelli. The techniques and strategies I use in this dissertation include biographical, stylistic, and social-historical research, as well as gestural and corporeal analysis of musical scores. I show how these violinists slowly increased their social and professional prestige, by using their virtuosity---and the works they wrote for themselves---to inspire meraviglia (marvel) and diletto (delight) in their audiences, which in turn resulted in a recognition of the virtuoso's ingegno (ingeniousness). I also examine how the virtuoso violinist disseminated his ingegno through the medium of print, and in the case of Colombi, manuscript. In so doing, I analyze the patron-performer relationships that enabled these collections to come into existence, and the different kinds of display at work in this medium. Each relationship was formed through separate court cultures and aesthetics, and for that, I situate each virtuoso in the social and artistic hierarchies in which these composers predominantly worked: Padua, Neuberg, Modena, Salzburg, and finally to Rome. Through this dissertation we can better understand the first flowering of the virtuosic idiom that would define the violin's musical repertory into the Eighteenth Century and beyond.

ISBN: 9781303130977Subjects--Topical Terms:

516178
Music.

The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata.
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245 1 4 $a The Virtuoso's Idiom: Spectacularity and the Seventeenth Century Violin Sonata.
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500 $a Source: Dissertation Abstracts International, Volume: 74-10(E), Section: A.
500 $a Adviser: Elisabeth Covel Le Guin.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2013.
520 $a In this dissertation, I study the development of the violinist's idiom through the solo violin sonata in Italy and Austria in the Seventeenth Century. In examining this development, I also study the professional lives of five composer/violinists: Giovanni Battista Fontana, Biagio Marini, Giuseppe Colombi, Heinrich Biber and Arcangelo Corelli. The techniques and strategies I use in this dissertation include biographical, stylistic, and social-historical research, as well as gestural and corporeal analysis of musical scores. I show how these violinists slowly increased their social and professional prestige, by using their virtuosity---and the works they wrote for themselves---to inspire meraviglia (marvel) and diletto (delight) in their audiences, which in turn resulted in a recognition of the virtuoso's ingegno (ingeniousness). I also examine how the virtuoso violinist disseminated his ingegno through the medium of print, and in the case of Colombi, manuscript. In so doing, I analyze the patron-performer relationships that enabled these collections to come into existence, and the different kinds of display at work in this medium. Each relationship was formed through separate court cultures and aesthetics, and for that, I situate each virtuoso in the social and artistic hierarchies in which these composers predominantly worked: Padua, Neuberg, Modena, Salzburg, and finally to Rome. Through this dissertation we can better understand the first flowering of the virtuosic idiom that would define the violin's musical repertory into the Eighteenth Century and beyond.
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