In this Book

Monteverdi and the End of the Renaissance
summary
Combining a close study of Monteverdi's secular works with recent research on late Renaissance history, Gary Tomlinson places the composer's creative career in its broad cultural context and illuminates the state of Italian music, poetry, and ideology in the sixteenth and seventeenth centuries.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. Title Page, Copyright
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Preface
  2. pp. ix-xii
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  1. Introduction
  2. pp. 1-2
  1. 1. Oppositions in Late-Renaissance Thought: Three Case Studies
  2. pp. 3-30
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  1. The Perfection of Musical Rhetoric
  2. pp. 31-32
  1. 2. Youthful Imitatio and the First Discovery of Tasso (Books I and II)
  2. pp. 33-57
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  1. 3. Wert, Tasso, and the Heroic Style (Book III)
  2. pp. 58-72
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  1. 4. Guarini and the Epigrammatic Style (Books III and IV)
  2. pp. 73-113
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  1. 5. Guarini, Rinuccini, and the Ideal of Musical Speech
  2. pp. 114-148
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  1. The Emergence of New Ideals
  2. pp. 149-150
  1. 6. Marino and the Musical Eclogue (Book VI)
  2. pp. 151-164
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  1. 7. Marinism and the Madrigal, I (Book VII)
  2. pp. 165-196
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  1. 8. Marinism and the Madrigal, II (Developments after Book VII)
  2. pp. 197-214
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  1. 9. The Meeting of Petrarchan and Marinist Ideals (The Last Operas)
  2. pp. 215-240
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  1. The End of the Renaissance
  2. pp. 241-242
  1. 10. Monteverdi and Italian Culture, 1550-1700
  2. pp. 243-260
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  1. Works Cited
  2. pp. 261-270
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  1. Index of Monteverdi's Works and Their Texts
  2. pp. 271-276
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  1. General Index
  2. pp. 277-280
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