Bibliographies thématiques / Italian Baroque

Littérature scientifique sur le sujet « Italian Baroque »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 20 février 2023

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Articles de revues sur le sujet "Italian Baroque"

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Smith, Richard Langham, Biondi, Naddeo, Alessandri et Rinalo Alessandri. « Italian Italian Baroque ». Musical Times 133, no 1796 (octobre 1992) : 528. http://dx.doi.org/10.2307/1002725.

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Frampton, Andrew, Anita Hardeman, Ginte Medzvieckaite, Helen Roberts, Elizabeth Rouget, Stephan Schönlau et Hannah Spracklan-Holl. « Italian Baroque ». Early Music 46, no 4 (novembre 2018) : 708–11. http://dx.doi.org/10.1093/em/cay084.

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Stowell, Robin. « Italian Baroque Violin ». Musical Times 128, no 1730 (avril 1987) : 214. http://dx.doi.org/10.2307/965436.

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Talbot, Michael. « Italian Baroque music ». Early Music 47, no 2 (9 avril 2019) : 275–77. http://dx.doi.org/10.1093/em/caz032.

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Roche, E. « Italian Baroque sacred music ». Early Music 36, no 4 (1 novembre 2008) : 650–53. http://dx.doi.org/10.1093/em/can101.

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Maunder, R. « Italian Baroque instrumental music ». Early Music 37, no 4 (1 novembre 2009) : 689–91. http://dx.doi.org/10.1093/em/cap099.

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Fedchuk, Dmitry A. « Italian baroque opera and event ». Journal of Integrative Cultural Studies 1, no 2 (2019) : 164–70. http://dx.doi.org/10.33910/2687-1262-2019-1-2-164-170.

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Ostrow, Steven F., et John Varriano. « Italian Baroque and Rococo Architecture ». Art Bulletin 70, no 3 (septembre 1988) : 528. http://dx.doi.org/10.2307/3051184.

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Toniolo, L., C. Colombo, S. Bruni, P. Fermo, A. Casoli, G. Palla et C. L. Bianchi. « Gilded Stuccoes of the Italian Baroque ». Studies in Conservation 43, no 4 (1998) : 201. http://dx.doi.org/10.2307/1506729.

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Selfridge-Field, Eleanor. « Italian oratorio and the Baroque Orchestra ». Early Music XVI, no 4 (novembre 1988) : 506–13. http://dx.doi.org/10.1093/earlyj/xvi.4.506.

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Thèses sur le sujet "Italian Baroque"

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Lindsey, Renee J. « The Truth of Night in the Italian Baroque ». UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.

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In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
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Silva, José Enrique. « The art of the theatrical fountain in the Italian Baroque : Rome and her surroundings ». Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23919.

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Palmer, Rodney. « The illustrated book in Naples, 1670-1734 ». Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363370.

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Bornstein, Andrea. « Two-part didactic music in printed Italian collections of the Renaissance and Baroque (1521-1744) ». Thesis, University of Birmingham, 2001. http://etheses.bham.ac.uk//id/eprint/677/.

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Two-part compositions were one of the main means through which music was taught during the Renaissance and Baroque periods, and they therefore played an important role in preparing both professional and amateur musicians. The main focus of my work is formed by the published volumes of duos ranging in date from 1521, the year when the first collection was issued, to 1744, the date of publication of Angelo Bertalotti’s Solfeggi, though I also take into account duos published in musical treatises. The importance of duos during this period is evidenced by the number of extant collections - more than sixty in Italy alone - and these publications reveal an essential continuity in the teaching of music theory and practice over a period of 250 years. So far, only a fraction of the music used for this purpose has been studied by other scholars. During this period all two-part didactic music served consistent and well-defined functions: the teaching of note-values and solmization; the teaching of modality and composition; as the basis for practising both vocal and instrumental music. My thesis traces the history of the genre, analyses aspects of the compositional structure of duos and examines the detail the various functions of duos. It also considers the intended readership of volumes of duos, through study of the publishers, composers and dedicates involved.
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Michalik, Edward. « Discipline and magnificence, a social history of the Italian aristocracy in the age of the Baroque ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0008/MQ36514.pdf.

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Griffiths, Sarah Abigail. « Luigi Rossi : Early Baroque Italian Cantatas for the Modern Singer, with Modern Editions of Selected Works ». Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84209/.

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The early baroque songs, or cantatas, of Luigi Rossi (1597-1653) are largely absent from the canon of standard Italian vocal repertory utilized by young singers and voice teachers today. In this document Rossi’s composition style is considered, along with modern edition trends, within the emerging genre of Italian early baroque song. Several of Luigi Rossi’s vocal works — chosen for their simplicity, brevity, dramatic content, and suitability for a young singer — are presented in modern transcriptions for voice and piano. The following document lays the groundwork for the inclusion of Luigi Rossi’s songs in the modern canon of Italian vocal music. Part I provides an introduction to Luigi Rossi and the considerations involved in creating modern editions of early baroque solo vocal music. In Chapter 1, Rossi’s patronage and compositional output are considered along with the reception and dissemination of his works in Italy and France. Chapter 2 of this study explores the historical context and lasting influence of Parisotti’s Arie Antiche, the larger collection from which the ubiquitous Schirmer edition, Twenty-four Italian Songs and Arias of the Seventeenth and Eighteenth Centuries, is drawn. One well-known song that appears in the Schirmer edition is Giulio Caccini’s Amarilli, mia bella. In an effort to illustrate trends in modern editions and performance practice, this song is traced from its first appearance in 1602 through representations in modern anthologies. Chapter 3 considers the practical concerns of modern editors of baroque vocal music – such as performance practice applications, ornamentation, and pedagogical considerations – with respect to the cantatas of Luigi Rossi. Chapter 4 discusses the three cantatas by Luigi Rossi that are presented in Part II as performance editions.
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Burzlaff, Mary Caroline. « Chaste sexual warrior, civic heroine, and femme fatale three views of Judith in Italian renaissance and baroque art / ». Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147989193.

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Thesis (M.A.)--University of Cincinnati, 2006.
Title from electronic thesis title page (viewed July 24, 2006). Includes abstract. Keywords: Judith; Holofernes; Italian; Renaissance; Baroque; Michelangelo; Donatello; Botticelli; Giovanni della Robbia; Giorgione; Palma Vecchio; Artemisia Gentileschi; Allori; Apocrypha. Includes bibliographical references.
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BURZLAFF, MARY CAROLINE. « CHASTE SEXUAL WARRIOR, CIVIC HEROINE, AND FEMME FATALE : THREE VIEWS OF JUDITH IN ITALIAN RENAISSANCE AND BAROQUE ART ». University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147989193.

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Coker, Bradley Gene. « The employment of historically informed performance practices in present day tuba performances of two Italian baroque violoncello transcriptions ». Thesis, Recital, recorded June 5, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6122.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 7, 2005, Mar. 20, 2006, June 5, 2006, and Nov. 5, 2007. Includes bibliographical references (p. 80-83).
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Destribois, Clemence Theodora. « Examining the Origins of the Late Baroque Monothematic Fugue:A Study of Seventeenth-Century Fugue in Italian Violin Music ». BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3350.

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Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.
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Livres sur le sujet "Italian Baroque"

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1956-, Dixon Susan M., dir. Italian Baroque art. Malden, MA : Blackwell Pub., 2008.

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Boucher, Bruce. Italian baroque sculpture. New York : Thames and Hudson, 1998.

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Bissell, R. Ward. Masters of Italian baroque painting. Detroit : Detroit Institute of Arts, 2005.

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Italian baroque and rococo architecture. New York : Oxford University Press, 1986.

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Varriano, John L. Italian Baroque and Rococo architecture. New York : Oxford University Press, 1986.

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Wyndham, Pope-Hennessy John. Italian High Renaissance & Baroque sculpture. London : Phaidon Press, 2000.

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Wyndham, Pope-Hennessy John. Italian High Renaissance and Baroque sculpture. New York : Vintage Books, 1985.

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Pope-Hennessy, John. Italian high renaissance and Baroque sculpture. 3e éd. Oxford : Phaidon, 1986.

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Wyndham, Pope-Hennessy John. Italian High Renaissance and Baroque sculpture. New York : Vintage Books, 1985.

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Reed, Sue Welsh. Italian etchers of the Renaissance & Baroque. Boston, Mass : Museum of Fine Arts, 1989.

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Chapitres de livres sur le sujet "Italian Baroque"

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Carter, Tim. « The North Italian Courts ». Dans The Early Baroque Era, 23–48. London : Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11294-4_2.

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Atkinson, Niall. « The Italian Piazza ». Dans A Companion to Renaissance and Baroque Art, 561–81. Oxford : John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch27.

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Golahny, Amy. « Italian Art and the North ». Dans A Companion to Renaissance and Baroque Art, 106–26. Oxford : John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch5.

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Richter, Elinor M. « Recasting the Role of the Italian Sculptor ». Dans A Companion to Renaissance and Baroque Art, 210–28. Oxford : John Wiley & Sons, 2013. http://dx.doi.org/10.1002/9781118391488.ch10.

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Barucci, Piero. « Nazionalismo economico e problemi della guerra e del dopoguerra ». Dans Studi e saggi, 95–116. Florence : Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-202-7.06.

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The text investigates nationalist thought during the Italian interwar years, tracing the rising of significant issues of economic policy, such as the Labour Chart, the founding of IRI, corporativism and colonial politics. Three economists were especially relevant: Vilfredo Pareto, Maffeo Pantaleoni and Enrico Barone. Anyway, in the field of political economy and law, two other personalities were even more crucial: Alfredo Rocco and Alberto Beneduce, who Mussolini trusted in terms of loyalty and competence. The topic is complex and requires further investigation. The alternate influence of the two during the long government of Mussolini, Rocco first and then Beneduce, is to be carefully considered as one of the main events of the Italian history under the Fascist regime
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Wuidar, Laurence. « Images religieuses en musique de la Renaissance à Bach et au baroque italien ». Dans Imago Figurata. Studies, 441–54. Turnhout : Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.ifstu-eb.4.2017029.

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« The Baroque ». Dans The Cambridge History of Italian Literature, 299–302. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521434928.016.

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« The Italian baroque revolution ». Dans Vocal Authority, 31–46. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9780511470226.004.

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Brilliant, Virginia. « Italian Baroque Paintings at the Ringling Museum : ». Dans Buying Baroque, 16–27. Penn State University Press, 2017. http://dx.doi.org/10.5325/j.ctv14gp98b.7.

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« Italian Developments ». Dans Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach, 21–30. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvzxx9g3.10.

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Actes de conférences sur le sujet "Italian Baroque"

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Dolinšek, Eva. « Monteverdi and Seconda Pratica : Music Should be at the Ser-vice of the Word ». Dans Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d21.

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This article provides insight into the music of the late Renaissance and early Baroque in Italy. Com-poser Claudio Monteverdi was one of the most important figures in the music of the early Italian Baroque. We consider the events that led to the creation of the new early Baroque style – Seconda pratica - (second practice) and describe the significant changes in vocal music that took place with the aim to depart from strict counterpoint at the turn of the 16th century. Keywords: Claudio Monteverdi; Seconda pratica; Venetian school; Madrigalisms; Ornamentation
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