| Papers [1-9] of 9 | Search results on "MONTEVERDI": |
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Claudio Monteverdi, 2006.
This in-depth paper explores the life and many accomplishments of composer and musical genius Claudio Monteverdi, also known as the transformer of European music.
4,344 words (approx. 17.4 pages), 12 sources, MLA, £ 79.95
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Abstract
This well-researched paper chronicles the life of classical composer Claudio Monteverdi, beginning with his birth in 1567, in northern Italy. Monteverdi was labeled a creative and dominant musical genius while still a child. The writer of this paper discusses the external influences in Monteverdi's life that motivated and aided in his creating and composing musical masterpieces which garnered him well deserved respect and fame as an influential composer. Monteverdi published two books detailing his madrigal music in 1603 and 1605 respectively. Both pieces of music integrated the avant-garde manner with the composer's idiom. The writer examines the creation of "The Opera of Orfeo" which cemented Monteverdi's status as a talented and influential composer. This in-depth paper contains much research and information regarding the various works of music created and composed by Monteverdi which explains why he was and still is considered the transformer of European music.
Table of Contents:
The Early Years
The World Beyond Home
The Madrigal Masterpieces
The Grief - Composition of "L'Arianna"
A Toil in Vain - Composition of Counter-Reformation
The Golden Period - Appointment at St. Mark's
The Commissions
The Last Decade
The Madrigal
The Artusi-Monteverdi Controversy Over Monteverdi's Madrigals
"Mantuan Context" for Monteverdi's Madrigal Composition
The Inspirations of Monteverdi
Marc'Antonio Ingegneri
Giaches de Wert
Wert & Monteverdi
Conclusion
The Esteem in Art History
The Fortunate Opposition
Monteverdi's Madrigals
Monteverdi - A Teacher for Generations
References
From the Paper
"The Opera of Orfeo established Monteverdi's status as a talented composer. This opera established that the composer knew much more about this music genre than his forerunners ever did. For example, his recitative was suppler and representative than any of them had. Monteverdi's recitatives were on the basis of the oratorical melody of his madrigals, instead of being found on the ancestor's theories of sensitive speech. After the passage of few months since the production of Orfeo, Monteverdi's wife, Claudia Cattaneo, passed away when she ultimately surrendered to months of sickness. This impelled Monteverdi, in an unhappy condition, to return to the home of his father to lament the death of Claudia."
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Claudio Monteverdi's Opera "Orfeo", 2008.
This paper analyzes the organization and expression in Claudio Monteverdi's opera "Orfeo".
1,605 words (approx. 6.4 pages), 4 sources, MLA, £ 36.95
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Abstract
This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper
"The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
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Monteverdi's, 2002.
A look at Monteverdi and his impact on the opera.
3,650 words (approx. 14.6 pages), 20 sources, £ 92.95
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Abstract
This paper discusses Monteverdi's important contributions to the birth and development of opera in the 17th century. His opera 'Orfeo' is also discussed.
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"Fifth Madrigal Book" ( Claudio Monteverdi ), 1999.
Examines content, style & innovation of 16th Cent. composer's dramatic madrigal & his relationship with his patron & major rival.
2,025 words (approx. 8.1 pages), 9 sources, £ 49.95
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From the Paper
" Claudio Monteverdi's Fifth Madrigal Book represents the musical innovation for which the composer was known. The Fifth Madigral Book is a dramatic madrigal, part drama and part musical performance. Monteverdi's compositions generated considerable artistic and literary comment, and the Fifth Book was no exception. Although derided by traditionalists, the Fifth Madrigal Book was received enthusiasticly by Monteverdi's public and his colleagues who valued its harmony and dramatic expression.
Monteverdi's 5th Madigral Book was written when the composer was employed in the court of Vincenzo (I) Gonzaga, Duke of Mantua. Monteverdi's original position in court was a string player; he first arrived in Mantua around the age of 22. The precise year of his employment is unknown, but by January 1590.."
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Monteverdi's Operas, 1999.
Examines career of 17th Cent. Venetian composer,focusing on his major works, techniques, style, themes and impact on his culture.
2,250 words (approx. 9.0 pages), 10 sources, £ 54.95
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From the Paper
" Although Monteverdi came late to the opera scene in Venice, he established himself as a master of the genre. No composer was more adept than Monteverdi at expressing human emotion through music. An examination of Monteverdi's life from 1633 to his death reveals a composer whose brilliance never diminished with age.
By 1633, Monteverdi, although advanced in age, was a prolific composer. His name and publications were famous throughout Europe. During this period Monteverdi also set out to prepare a musical treatise, in which he hoped to make clear to the musical world the theories that formed the basis of his seconda prattica, or second practice.
In 1633, Monteverdi was still music director at St. Mark's, Venice, a post he had held since 1613. By the 1630s, Monteverdi.."
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Love, Sex and Death in Music, 2005.
This paper discusses the themes of love, sex and death in the music of the modern world and looks at the work of three composers, Mozart, Chopin and Monteverdi.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
This paper reviews the conceits of sex, love, and death as they are portrayed in the representative works of three great "modern" composers. This paper argues that these three individuals do possess modern sensibilities vis-a-vis at least one or two of the items mentioned above, but they are also distinctively unique in several respects. The paper, in any event, notes how a full appreciation of the relationship between music and the baring of the human soul can only be possible by reviewing the work of these three gentlemen.
From the Paper
"Love, Sex and Death are common preoccupations of all ages. In particular, the work of three great "modern" composers - Mozart, Chopin, and Monteverdi - mirrors our own obsessions with these elements of the human experience. In brief, it may be said that Mozart's satyric treatment of sex is thoroughly "modern" in its cynicism; it may also be said that Chopin's haunting Sonata in Bb Minor is a "democratization" of the experience of death and the suffering of those left behind to grieve the loss of loved ones. Finally, it may be suggested that Monteverdi, despite his contributions to modern opera, is the least "modern" of all because the over-riding theme of his Orfeo - the irreparable loss of a loved one - is replete with patriarchal, pre-modern romantic conceits."
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"Weeping at the Water's Edge", 2008.
A review of the article "Weeping at the Water's Edge" by Anne MacNeil.
752 words (approx. 3.0 pages), 3 sources, APA, £ 18.95
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Abstract
The writer examines the article "Weeping at the Water's Edge" where Anne MacNeil discusses the history of the opera "L'Arianna" by Claudio Monteverdi. The writer discusses MacNeil's thesis that the performance of "L'Arianna" by Claudio Monteverdi was a representation of the marriage rite that was performed in 1608. The writer then relates what this article has taught him.
From the Paper
"Throughout the article, Anne MacNeil uses many different points of persuasion to defend her thesis. In an effort to solidify her argument, she used the thoughts of scholars like Suzanne Cusick to argue against their personal thesis to support her own. MacNeil also used examples and illustrations from many famous early writers, including Aristotle and Greek dramatists like Aeschylus, Euripides, and Sophocles, to show that the performance of Arianna by Claudio Monteverdi was a representation of the marriage rite that was performed in 1608."
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The Early Development of Opera, 2005.
This paper discusses the early progenitors opera that began at the end of the 16th century and into the early part of 17th century.
900 words (approx. 3.6 pages), 2 sources, £ 24.95
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Abstract
This paper explains that the return to Greek drama within the musical trends of the end of the 16th century and into the early part of 17th century resulted in a multifaceted musical and theatrical combination, which is now called opera. The author analyzes composers, such as Caccini, Peri and Monteverdi, to reveal how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. The paper relates that, in the late 16th century, various forms of music were beginning to combine theatrical productions, arias and extended recitative verses, which would invariably be termed opera.
From the Paper
"This music study will present the early progenitors opera that began at the end of the 16th century and into the early part of 17th century. By understanding the return to Greek drama within musical trends of these time periods, a multifaceted musical and theatrical combination resulted in what is now called Opera. By analyzing composers such as Caccini, Peri and Monteverdi, one can realize how this musical idiom developed from the medieval music tradition and Greek Classical revival of the Baroque period. In the late 16th century various forms of music were beginning to blend theatrical productions and arias, as well as extended recitative verses that would invariably be termed opera through these initial combinations."
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Italian Opera, 2005.
This paper discusses the origins of opera in Italy.
675 words (approx. 2.7 pages), 4 sources, MLA, £ 16.95
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Abstract
This paper looks at the origins of opera in Italy. The writer discusses the earliest forms of opera. In this paer, themes from classical literature relating to opera are also examined. The writer studies the operas of Peri and Monteverdi. In this article, the writer also discusses the transformation of opera from court audiences to the theatre.
From the Paper
"Opera, said D. Kern Holoman, was born of the encounter of the lavish entertainments enjoyed by princely courts with academic experiments aimed at recreating the essence of Greek tragedy. It was in Florence where a small group of literate humanists led by Jacopo Peri established the Camerata that opera began to assume the form that it would later achieve over time. The so-called Canti Carnascialeschi served as the basic format in which composers such as Peri integrated earlier seventeenth elements such as the courtly ... "
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