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摘要
摘要
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.
评论 (2)
Choice 评论
Tomlinson treats the ``contextual relations of a text and its constituent units'' in Monteverdi's secular works. Chapter 1 sketches 16th-century Italian culture and the ``joining of antithetical impulses,'' primarily medieval scholasticism and Renaissance humanism that culminated in the extraordinary accomplishments of Galileo, Guarini, and Monteverdi. Chapters 2 through 5 treat the perfection of rhetoric by studying the poetic and musical sources for Monteverdi. ``Excursus'' sections (digressions that follow each chapter) suggest speculative chronology for Books IV and V of the Madrigals and examine rhetoric in Book VI. Chapters 6 through 8 consider ``new ideals'' adopted by Monteverdi when the madrigal verse of Giambattista Marini began to influence his settings and Chapter 9 suggests that a ``Third Practice'' resulted from Monteverdi's synthesis of Petrarchan ideals with the descriptive discursive style and emphasis on external objects rather than emotions of the Marinists. In a final chapter, Tomlinson emphasizes the relationship of music and poetry during the ``Indian Summer'' of the Renaissance. Well written and accessible to the nonspecialist; an important addition to Italian cultural history and an excellent example of contextual musicology. Upper-division and graduate students.-J.P. Ambrose, University of Vermont
《图书馆杂志》(Library Journal )书评
Working at a time of great conflict between the old scholastic and the new humanist traditions, Monteverdi was subject to influences not only musical but cultural, as represented by changing poetic and ideological thought (especially of the divergent Petrachan and Marinist schools). Tomlinson shows how these influences contributed to the composer's musical and philosophical development. Books on Monteverdi abound, but none from this vantage point. While scholarly, the work is fluent, attractive, and intelligible in style and contains both useful footnotes and an extensive bibliography. Illuminated capitals at the start of each chapter add to the pleasure of handling this beautifully presented book. Recommended for music libraries. Philippa Kiraly, Cleveland, Ohio (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.