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Re-Stringing the Lyre: Monody and th...

Belt, Chelsey,

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Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy // Chelsey Belt.
Author:	Belt, Chelsey,
Description:	1 electronic resource (263 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 86-11, Section: A.
Contained By:	Dissertations Abstracts International86-11A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=32002894
ISBN:	9798315739173

Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy /
Belt, Chelsey,

Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy /Chelsey Belt. - 1 electronic resource (263 pages)

Source: Dissertations Abstracts International, Volume: 86-11, Section: A.

The 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.

English

ISBN: 9798315739173Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Lira da braccio

Re-Stringing the Lyre: Monody and the Performance of Poetry in Early Seventeenth-Century Italy /
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500 $a Advisors: Ossi, Massimo M. Committee members: Zanovello, Giovanni; Smith, Ayana O.; Scalabrini, Massimo.
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520 $a The 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.
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650 4 $a Music. $3 516178
650 4 $a Italian literature. $3 715637
650 4 $a History. $3 516518
653 $a Lira da braccio
653 $a Monody
653 $a Monteverdi
653 $a Oral tradition
653 $a Renaissance
653 $a Song
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690 $a 0220
690 $a 0578
710 2 $a Indiana University. $b School of Music. $e degree granting institution. $3 3818944
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