Bibliografie tematiche / Italian Baroque

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Letteratura scientifica selezionata sul tema "Italian Baroque"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 20 febbraio 2023

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Articoli di riviste sul tema "Italian Baroque"

1

Smith, Richard Langham, Biondi, Naddeo, Alessandri, and Rinalo Alessandri. "Italian Italian Baroque." Musical Times 133, no. 1796 (October 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, and Hannah Spracklan-Holl. "Italian Baroque." Early Music 46, no. 4 (November 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 (April 1987): 214. http://dx.doi.org/10.2307/965436.

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Talbot, Michael. "Italian Baroque music." Early Music 47, no. 2 (April 9, 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 (November 1, 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 (November 1, 2009): 689–91. http://dx.doi.org/10.1093/em/cap099.

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7

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., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (September 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, and 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 (November 1988): 506–13. http://dx.doi.org/10.1093/earlyj/xvi.4.506.

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Tesi sul tema "Italian Baroque"

1

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

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Abstract (sommario):
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 theate
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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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Abstract (sommario):
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 th
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5

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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Abstract (sommario):
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 Ro
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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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Abstract (sommario):
Thesis (M.A.)--University of Cincinnati, 2006.<br>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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9

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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Abstract (sommario):
Thesis (D.M.A.)--University of North Texas, 2008.<br>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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Abstract (sommario):
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
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Libri sul tema "Italian Baroque"

1

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

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2

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

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3

1923-, Miller Dwight C., Derstine Andria, and Detroit Institute of Arts, eds. Masters of Italian baroque painting. Detroit: Detroit Institute of Arts, 2005.

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4

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

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5

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

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6

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

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7

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

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8

Wyndham, Pope-Hennessy John. Italian high renaissance and Baroque sculpture. 3rd ed. Oxford: Phaidon, 1986.

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9

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

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10

1933-, Wallace Richard W., and Museum of Fine Arts, Boston., eds. Italian etchers of the Renaissance & Baroque. Boston, Mass: Museum of Fine Arts, 1989.

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Capitoli di libri sul tema "Italian Baroque"

1

Carter, Tim. "The North Italian Courts." In 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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2

Atkinson, Niall. "The Italian Piazza." In 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." In 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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4

Richter, Elinor M. "Recasting the Role of the Italian Sculptor." In 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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5

Barucci, Piero. "Nazionalismo economico e problemi della guerra e del dopoguerra." In 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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Abstract (sommario):
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." In Imago Figurata. Studies, 441–54. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.ifstu-eb.4.2017029.

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7

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

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8

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

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9

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

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"Italian Developments." In 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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Atti di convegni sul tema "Italian Baroque"

1

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

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Abstract (sommario):
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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