Benutzer:Thomas Gebhardt/Monteverdi

Claudio Monteverdi

Vespermusik zu einem Apostelfest

Eröffnung

• Deus in adiutorium / Domine ad adiuvandum (Vesper 1610)

Psalmen

I. Ant

Hoc est praeceptum meum (8c [133])

I. Ps

Dixit Dominus (Vesper 1610)

II. Ant

Majorem caritatem (1g [141])

II. Ps

Confitebor Terzo alla francese à 5 voci quali si può concertare se piacerà con quattro viole da brazzo lasciando la parte del soprano alla voce sola (Selva morale 1641)

III. Ant

Vos amici mei estis (1a3 [141])

III. Ps

Beatus primo à 6 voci concertato con due violini & 3 viole da brazzo overo 3 Tromboni quali anco si ponno lasciare (Selva morale 1641)

IV. Ant

Beati pacifici (1f [148])

IV. Ps

Laudate Pueri Secondo à 5 voci (Selva morale 1641)

V. Ant

In patientia vestra (1g [166])

V. Ps

Laudate Dominum Secondo à 8 voci & due violini (Selva morale 1641)

Hymnus

• Exultet orbis gaudiis

nach Iste confessor Primo (=Deus tuorum militum Primo) Hinno con doi violini (Selva morale 1641)

Canticum B.M.V.

Ant. ad Magnif.

Tradent enim vos (1f [207 vel 213])

Magnificat Primo à 8 voci & due violini & quattro viole overo quatro Tronboni quali in acidente si ponno lasciare (Selva morale 1641)

Marianische Antiphon

• Salve Regina Tenore solo (Ghirlanda sacra 1625)

oder

• Salve regina con dentro un Ecco voce sola risposta d'ecco & due violini (Selva morale 1641)

oder

• Salve Regina à 2 voci due Tenori o due soprani (Selva morale 1641)

oder

• Salve Regina à 3 voci Alto Basso & Tenore o Soprano (Selva morale 1641)

Abschluss

• Motette

Sancta Maria à 5

Kontrafaktur von Aquilino Coppini, Milano 1607, (No. 8).

zu Madrigal Deh! bella e cara, Quinto libro de Madrigali, 1605.

(oder)

Gloria tua à 5

Kontrafaktur von Aquilino Coppini, Milano 1607, (No. 18).

zu Madrigal T'amo mia vita, Quinto libro de Madrigali, 1605.

Texte und Übersetzungen

Dixit Dominus – Ps 109 (110)

Antiphon Hoc est praeceptum meum, ut diligatis invicem, sicut dilexi vos.
Dies ist mein Gebot, dass ihr einander liebt, wie ich euch geliebt habe.
(Joh 15,12)

Psalm

lateinisch (Vulgata)

deutsch (Luther)

1 David psalmus dixit Dominus Domino meo sede a dextris meis donec ponam inimicos tuos scabillum pedum tuorum 2 virgam virtutis tuae emittet Dominus ex Sion dominare in medio inimicorum tuorum 3 tecum principium in die virtutis tuae in splendoribus sanctorum ex utero ante luciferum genui te 4 iuravit Dominus et non paenitebit eum tu es sacerdos in aeternum secundum ordinem Melchisedech 5 Dominus a dextris tuis confregit in die irae suae reges 6 iudicabit in nationibus implebit cadavera [ruinas] conquassabit capita in terra multorum 7 de torrente in via bibet propterea exaltabit caput Der Psalm wird in der Regel geschlossen mit einer Doxologie, dem Gloria Patri: Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.

Der ewige König und Priester 1 Ein Psalm Davids. Der HERR sprach zu meinem Herrn: »Setze dich zu meiner Rechten, bis ich deine Feinde zum Schemel deiner Füße mache.«  2 Der HERR wird das Zepter deiner Macht ausstrecken aus Zion. Herrsche mitten unter deinen Feinden! 3 Wenn du dein Heer aufbietest, wird dir dein Volk willig folgen in heiligem Schmuck. Deine Söhne werden dir geboren wie der Tau aus der Morgenröte. 4 Der HERR hat geschworen, und es wird ihn nicht gereuen: »Du bist ein Priester ewiglich nach der Weise Melchisedeks.«  5 Der Herr zu deiner Rechten wird zerschmettern die Könige am Tage seines Zorns. 6 Er wird richten unter den Heiden, wird viele erschlagen, wird Häupter zerschmettern auf weitem Gefilde. 7 Er wird trinken vom Bach auf dem Wege, darum wird er das Haupt emporheben. Ehre sei dem Vater und dem Sohn und dem Heiligen Geist, wie im Anfang, so auch jetzt und alle Zeit und in Ewigkeit. Amen.

Confitebor – Ps 110 (111)

Antiphon Majorem caritatem nemo habet, ut animam suam ponat quis pro amicis suis.
Größere Liebe hat niemand als der, der sein Leben für seinen Freunde gibt.

Psalm

lateinisch (Vulgata)

deutsch (Einheitsübersetzung)

110:1 alleluia reversionis Aggei et Zacchariae confitebor tibi Domine in toto corde meo in consilio iustorum et congregatione 110:2 magna opera Domini exquisita in omnes voluntates eius 110:3 confessio et magnificentia opus eius et iustitia eius manet in saeculum saeculi 110:4 memoriam fecit mirabilium suorum misericors et miserator Dominus 110:5 escam dedit timentibus se memor erit in saeculum testamenti sui 110:6 virtutem operum suorum adnuntiabit populo suo 110:7 ut det illis hereditatem gentium opera manuum eius veritas et iudicium 110:8 fidelia omnia mandata eius confirmata in saeculum saeculi facta in veritate et aequitate 110:9 redemptionem misit populo suo mandavit in aeternum testamentum suum sanctum et terribile nomen eius 110:10 initium sapientiae timor Domini intellectus bonus omnibus facientibus eum laudatio eius manet in saeculum saeculi; Der Psalm wird in der Regel geschlossen mit einer Doxologie, dem Gloria Patri: Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.

Ein Preislied auf die Wundertaten des Herrn Halleluja! Den Herrn will ich preisen von ganzem Herzen im Kreis der Frommen, inmitten der Gemeinde. 2 Groß sind die Werke des Herrn, kostbar allen, die sich an ihnen freuen. 3 Er waltet in Hoheit und Pracht, seine Gerechtigkeit hat Bestand für immer. 4 Er hat ein Gedächtnis an seine Wunder gestiftet, der Herr ist gnädig und barmherzig. 5 Er gibt denen Speise, die ihn fürchten, an seinen Bund denkt er auf ewig. 6 Er hat seinem Volk seine machtvollen Taten kundgetan, um ihm das Erbe der Völker zu geben. 7 Die Werke seiner Hände sind gerecht und beständig, all seine Gebote sind verläßlich. 8 Sie stehen fest für immer und ewig, geschaffen in Treue und Redlichkeit. 9 Er gewährte seinem Volk Erlösung und bestimmte seinen Bund für ewige Zeiten. Furchtgebietend ist sein Name und heilig. 10 Die Furcht des Herrn ist der Anfang der Weisheit; alle, die danach leben, sind klug. Sein Ruhm hat Bestand für immer. Ehre sei dem Vater und dem Sohn und dem Heiligen Geist, wie im Anfang, so auch jetzt und alle Zeit und in Ewigkeit. Amen.

Beatus vir – Ps 111 (112)

Antiphon Vos amici mei estis, si feceritis quae praecipio vobis, dicit Dominus.
Ihr seid meine Freunde, wenn ihr handelt wie ich euch gebiete, spricht der Herr.
(Joh 15,14)

Psalm

lateinisch (Vulgata)

deutsch (Einheitsübersetzung)

1. ALLELUIA. ALEPH. Beatus vir, qui timet Dominum, BETH. in mandatis eius cupit nimis. 2. GHIMEL. Potens in terra erit semen eius, DALETH. generatio rectorum benedicetur. 3. HE. Gloria et divitiae in domo eius, VAU. et iustitia eius manet in saeculum saeculi. 4. ZAIN. Exortum est in tenebris lumen rectis, HETH. misericors et miserator et iustus. 5. TETH. Iucundus homo, qui miseretur et commodat, / IOD. disponet res suas in iudicio, 6. CAPH. quia in aeternum non commovebitur. LAMED. In memoria aeterna erit iustus, 7. MEM. ab auditione mala non timebit. NUN. Paratum cor eius, sperans in Domino, / 8. SAMECH. confirmatum est cor eius, non timebit, AIN. donec despiciat inimicos suos. 9. PHE. Distribuit, dedit pauperibus; / SADE. iustitia eius manet in saeculum saeculi, COPH. cornu eius exaltabitur in gloria. 10. RES. Peccator videbit et irascetur, / SIN. dentibus suis fremet et tabescet. TAU. Desiderium peccatorum peribit.

Der Segen der Gottesfurcht 1 Halleluja! Wohl dem Mann, der den Herrn fürchtet und ehrt und sich herzlich freut an seinen Geboten. 2 Seine Nachkommen werden mächtig im Land, das Geschlecht der Redlichen wird gesegnet. 3 Wohlstand und Reichtum füllen sein Haus, sein Heil hat Bestand für immer. 4 Den Redlichen erstrahlt im Finstern ein Licht: der Gnädige, Barmherzige und Gerechte. 5 Wohl dem Mann, der gütig und zum Helfen bereit ist, / der das Seine ordnet, wie es recht ist. 6 Niemals gerät er ins Wanken; ewig denkt man an den Gerechten. 7 Er fürchtet sich nicht vor Verleumdung; sein Herz ist fest, er vertraut auf den Herrn. / 8 Sein Herz ist getrost, er fürchtet sich nie; / denn bald wird er herabschauen auf seine Bedränger. 9 Reichlich gibt er den Armen, / sein Heil hat Bestand für immer; er ist mächtig und hoch geehrt. 10 Voll Verdruss sieht es der Frevler, / er knirscht mit den Zähnen und geht zugrunde. Zunichte werden die Wünsche der Frevler. Ehre sei dem Vater und dem Sohn und dem Heiligen Geist, wie im Anfang, so auch jetzt und alle Zeit und in Ewigkeit. Amen.

Laudate pueri Dominum – Ps 112 (113)

Antiphon Beati pacifici, beati mundo corde: quoniam ipsi Deum videbunt.

Selig die Friedenstifter, selig die reinen Herzens: denn sie werden Gott sehen.
(Mt 5,9.10)

Psalm

lateinisch (Vulgata)

deutsch (Einheitsübersetzung)

1. ALLELUIA. Laudate, pueri Domini, laudate nomen Domini. 2. Sit nomen Domini benedictum ex hoc nunc et usque in saeculum. 3. A solis ortu usque ad occasum laudabile nomen Domini. 4. Excelsus super omnes gentes Dominus, super caelos gloria eius. 5. Quis sicut Dominus Deus noster, / qui in altis habitat 6. et se inclinat, ut respiciat in caelum et in terram? 7. Suscitans de terra inopem, de stercore erigens pauperem, 8. ut collocet eum cum principibus, cum principibus populi sui. 9. Qui habitare facit sterilem in domo, matrem filiorum laetantem.

Ein Loblied auf Gottes Hoheit und Huld 1 Halleluja! Lobet, ihr Knechte des Herrn, lobt den Namen des Herrn! 2 Der Name des Herrn sei gepriesen von nun an bis in Ewigkeit. 3 Vom Aufgang der Sonne bis zum Untergang sei der Name des Herrn gelobt. 4 Der Herr ist erhaben über alle Völker, seine Herrlichkeit überragt die Himmel. 5 Wer gleicht dem Herrn, unserm Gott, / im Himmel und auf Erden, 6 ihm, der in der Höhe thront, / der hinabschaut in die Tiefe, 7 der den Schwachen aus dem Staub emporhebt und den Armen erhöht, der im Schmutz liegt? 8 Er gibt ihm einen Sitz bei den Edlen, bei den Edlen seines Volkes. 9 Die Frau, die kinderlos war, lässt er im Hause wohnen; sie wird Mutter und freut sich an ihren Kindern.

Laudate Dominum – Ps 116 (117)

Antiphon In patientia vestra possidebitis animas vestras.
In eurer Standhaftigkeit, werdet ihr das Leben gewinnen.
(Lk 21,19)

Psalm

lateinisch (Vulgata)	deutsch (Luther)
1 Laudate Dominum omnes gentes laudate eum omnes populi. 2 Quoniam confirmata est super nos misericordia eius et veritas Domini manet in aeternum. Der Psalm wird in der Regel geschlossen mit einer Doxologie, dem Gloria Patri: Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.	1 Lobet den HERRN, alle Heiden! Preiset ihn, alle Völker! 2 Denn seine Gnade und Wahrheit waltet über uns in Ewigkeit. Ehre sei dem Vater und dem Sohn und dem Heiligen Geist, wie im Anfang, so auch jetzt und alle Zeit und in Ewigkeit. Amen.

Hymnus

Exsultet orbis gaudiis

lateinisch	neue liturgische Vorschrift lateinisch	deutsch
1. Exsultet orbis gaudiis, Caelum resultet laudibus : Apostolorum gloriam Tellus et astra concinunt. 2. Vos saeculorum judices, Et vera mundi lumina : Votis precamur cordium Audite voces supplicum. 3. Qui templa caeli clauditis, serasque verbo solvitis : Nos a reatu noxios Solvi jubete, quaesumus. 4. Praecepta quorum protinus Languor salusque sentiunt : Sanate mentes languidas, Augete nos virtutibus. 5. Ut cum redibit arbiter In fine Christus saeculi, Nos sempiterni gaudii Concedat esse compotes. 6. Patri, simulque Filio, Tibique Sancte Spiritus, Sicut fuit, sit jugiter Saeclum per omne gloria. Amen. (LU 1115)	1. Exsultet cælum laudibus, resultet terra gaudiis : Apostolorum gloriam sacra canunt solemnia. 2. Vos, sæcli iusti iudices, et vera mundi lumina, votis precamur cordium audite preces supplicum. 3. Qui cælum verbo clauditis serasque eius solvitis, nos a peccatis omnibus solvite iussu quæsumus. 4. Quorum præcepto subditur salus et languor omnium, sanate ægros moribus, nos reddnetes virtutibus. 5. Ut, cum iudex advenerit Christus in fine sæculi, nos sempiterni gaudii faciat esse compotes. 6. Deo sint laudes gloriæ, qui dat nos evangelicis, per vos doctrinis instrui et prosequi cælestia. Amen. (Liber Hymnarius 270)

Magnificat

Antiphon Tradent enim vos in conciliis, et in synagogis suis flagellabunt vos,
et ante reges et praesides ducemini propter me, in testimonium illis et gentibus.

Sie werden euch den Gerichten ausliefern und in den Synagogen werdet ihr geschlagen werden,
und man wird euch vor Fürsten und Könige stellen um meinetwillen, ihnen und den Heidenvölkern zum Zeugnis.
(Mt 10,17f)

Canticum

lateinisch (Vulgata)

deutsch (Einheitsübersetzung)

Magnificat anima mea Dominum, et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae. Ecce enim ex hoc beatam me dicent omnes generationes. Quia fecit mihi magna, qui potens est, et sanctum nomen eius. Et misericordia eius a progenie in progenies timentibus eum. Fecit potentiam in brachio suo, dispersit superbos mente cordis sui. Deposuit potentes de sede et exaltavit humiles. Esurientes implevit bonis et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad patres nostros, Abraham et semini eius in saecula. Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen.

Meine Seele preist die Größe des Herrn, und mein Geist jubelt über Gott, meinen Retter. Denn auf die Niedrigkeit seiner Magd hat er geschaut. Siehe, von nun an preisen mich selig alle Geschlechter. Denn der Mächtige hat Großes an mir getan, und sein Name ist heilig. Er erbarmt sich von Geschlecht zu Geschlecht über alle, die ihn fürchten. Er vollbringt mit seinem Arm machtvolle Taten: Er zerstreut, die im Herzen voll Hochmut sind. Er stürzt die Mächtigen vom Thron und erhöht die Niedrigen. Die Hungernden beschenkt er mit seinen Gaben und lässt die Reichen leer ausgehen. Er nimmt sich seines Knechtes Israel an und denkt an sein Erbarmen, das er unseren Vätern verheißen hat, Abraham und seinen Nachkommen auf ewig. Das Magnificat wird geschlossen mit einer Doxologie, dem Gloria Patri: Ehre sei dem Vater und dem Sohn und dem Heiligen Geist, wie im Anfang, so auch jetzt und alle Zeit und in Ewigkeit. Amen.

Salve Regina

lateinisch

deutsch

Salve, Regina, mater misericordiae; vita, dulcedo et spes nostra, salve. Ad te clamamus, exsules filii Evae. Ad te suspiramus, gementes et flentes in hac lacrimarum valle. Eia ergo, advocata nostra, illos tuos misericordes oculos ad nos converte. Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende. O clemens, o pia, o dulcis Virgo Maria.

Sei gegrüßt, o Königin, Mutter der Barmherzigkeit; unser Leben, unsere Wonne und unsere Hoffnung sei gegrüßt! Zu dir rufen wir verbannte Kinder Evas; zu dir seufzen wir trauernd und weinend in diesem Tal der Tränen. Wohlan denn, unsere Fürsprecherin, wende deine barmherzigen Augen uns zu und nach diesem Elend zeige uns Jesus, die gesegnete Frucht deines Leibes! O gütige, o milde, o süße Jungfrau Maria.

Sancta Maria (Motette)

lateinisch

deutsch

Sancta MARIA, quae Christum peperisti Virginei sine labe pudoris, uolue serenos oculos illos tuos misericordiae & pietatis in homines, qui tibi sunt deuoti, dulcis Virgo MARIA. Tu maris tumidi refulgens Stella, tu decus Paradisi, tu rosa uernans pudicissima Virgo & lilium suaue, bonum est te amare, quae non sinis perire. O Virgo benedicta, duc nos ad gloriam Regni coelestis.

Heilige Maria, die du Christus getragen hast jungfräulich, ohne Erbschuld, richte jene deine erhabenen Augen voll Erbarmen und Güte auf die Menschen, die dir ergeben sind, süße Jungfrau Maria. Du über dem dunklen Meer aufleuchtender Stern, du Zier des Paradieses, du blühende Rose, reinste Jungfrau und sanfte Lilie, es ist gut dich zu lieben, ohne die nichts gelingt. O gesegnete Jungfrau, führe und zur Herrlichkeit des himmlischen Reiches.

Quellen

Selva morale e spirituale

Die 1641 veröffentlichte Sammlung »Selva morale e spirituale«, SV 252-288, ist eine Zusammenstellung geistlicher Werke des italienischen Barockkomponisten Claudio Monteverdi (1567-1643).

Das Gesamtwerk wurde in Form einzelner Stimmbücher gedruckt, die über einen längeren Zeitraum hinweg veröffentlicht wurden, so dass die einzelnen Bücher verschiedene Jahresangaben tragen. Der Originaltitel der Basso continuo-Stimme lautet z. B.: »SELVA MORALE E SPIRITVALE DI CLAVDIO MONTEVERDE Maestro Di Capella della Serenissima Republica Di Venetia DEDICATA ALLA SACRA CESAREA MAESTA DELL'IMPERATRICE ELEONORA GONZAGA Con Licenza de Superiori & Priuilegio. [...] IN VENETIA MDCXXXX Appresso Bartolomeo Magni«, erschien also bereits 1640. Daher kommt es, dass das Veröffentlichungsdatum unterschiedlich mit »1640« oder »1641« angegeben wird. Widmungsträgerin ist Eleonora Gonzaga, Witwe des Kaisers Ferdinand II. und Tochter Vincenzo Gonzagas, des ehemaligen Dienstherren Monteverdis in Mantua.

Die Sammlung enthält eine vierstimmige Vertonung der Messe mit einigen Alternativsätzen im stile concertato, zahlreiche Psalmvertonungen und Hymnen für den Vespergottesdienst sowie Motetten und zeigt die Bandbreite an kompositorischen Stilen, die Monteverdi im Lauf seiner Kapellmeister-Tätigkeit an San Marco in Venedig verwendet hat.

Literatur

• Arnold, Denis: Monteverdi. 3. Auflage, revidiert von Tim Carter. London: Dent 1990 (The Master musician series).
• Art. »Claudio Monteverdi«. In: The New Grove Dictionary of Music and Musicians. Hg. Stanley Sadie. Bd. 12. London: Macmillan 1980.

Gesamteinspielungen

• Konrad Junghänel, Cantus Cölln, DHM CD, 2001.l
• Gabriel Garrido, Ensemble Elyma, Ambronay CD, 2005.

Ghirlanda sacra

1625

Sacri canti

1629

Literaturliste zu Monteverdi

von Geoffrey Chew http://sun.rhbnc.ac.uk/~uhwm006/montbib.html [29.09.2007]

1. Abert, Anna Amalie, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel, 1954
2. ---, "Tasso, Guarini e l'opera", Nuova rivista musicale italiana 4/5 (1970), 827-840
3. ---, Claudio Monteverdis Bedeutung für die Entstehung des musikalischen Dramas, Erträge der Forschung 107, Darmstadt: Wissenschaftliche Buchgesellschaft [Abt. Verl.], 1979
4. Adams, K.Gary and Dyke Kiel, Claudio Monteverdi: A Guide to Research, Garland Reference Library of the Humanities 792, New York: Garland, 1989
5. Aerde, Raymond Joseph Justin van, Notice sur la vie & les oeuvres de Cyprien de Rore, illustre musicien malinois du XVIme siècle, Malines: L. & A. Godenne, 1909
6. Aldrich, Putman, The Rhythm of Seventeenth-Century Italian Monody, New York: W.W. Norton, 1966
7. Allacci, Leone, Drammaturgia di Leone Allacci divisa in sette indici, 1st ed., Rome: Per il Mascardi, 1666
8. ---, Drammaturgia di Lione Allacci accresciuta e continuata fino all'anno MDCCLV, 2nd ed., Venice: Giambattista Pasquali, 1755
9. Alm, Irene, "L'Arte della Danza ai Tempi di Claudio Monteverdi", Dance Research Journal 26/1 (1994) (Spring), 44
10. Ambros, August Wilhelm, Zur Lehre vom Quinten-Verbote: Eine Studie, Leipzig: Heinrich Matthes, [1859]
11. Anderle, Jirí and Harry Halbreich, Ricercari : in omaggio al sig. Claudio Monteverdi / Anderle ... [et al.], n.p.: n.p., 1972?
12. Anfuso, Nella, Claudio Monteverdi, Orfeo: exempla di semeiografia ed armonia nell'edizione del 1609; lezione proposta da N. Anfuso; realizzazione di Vito Frazzi; testo di A. Gianuario, Florence: OTOS, c1972
13. Anfuso, Nella and Annibale Gianuario, Lamento d'Arianna [di] Claudio Monteverdi: studio e interpretazione ... sulla edizione a stampa del Gardano, Venezia, 1623, Florence: OTOS, [c1969]
14. ---, Modalità e realtà fonetica nel Lamento d'Arianna di Claudio Monteverdi, Nuova metodologia 1, Florence: OTOS, [per il] Centro Studi Rinascimento Musicale, [1970]
15. ---, Preparazione alla interpretazione della Poiesis monteverdiana, Florence: OTOS, [per il] Centro studi Rinascimento musicale, 1971
16. ---, Le tre Arianne di Claudio Monteverdi, Nuova metodologia 5, Florence: Centro studi Rinascimento musicale, 1975
17. ---, Amenita pseudomusicologiche del Sig. Adriano Cavicchi, Florence: Centro Studi Rinascimento Musicale, 1975
18. Anon., Claudio Monteverdi, Florence: Sansoni, 1943
19. ---, Ifigenia di I. Pizzetti. Tirsi e Clori di C. Monteverdi e A. Milloss, [Florence]: [Maggio musicale fiorentino XIV, 1951], [1951]
20. ---, Italienische Musiker und das Kaiserhaus, 1567-1625; Dedikationsstücke und Werke von Musikern im Dienste des Kaiserhauses. Madrigale von Filippo di Monte, Francesco Portinaro, Andrea Gabrieli, Annibale Padoano, Denkmäler der Tonkunst in Österreich 77, Graz: Akademische Druck- u. Verlagsanstalt, 1960 [1934]
21. ---, Baroque opera at Smith College, 1926-1931; record of a pioneer venture in music: Monteverdi and Handel operas as performed under the direction of Werner Josten, New York, 1966
22. ---, Dedicado a Claudio Monteverdi, Ars; revista de arte A¤o 26, no. 102, Buenos Aires, 1966
23. ---, Scritti in onore di Luigi Ronga, Milan and Naples: R. Ricciardi, 1973
24. ---, L'Orfeo: Monteverdi, L'Avant-scène Opéra 5, Paris: Editions de l'Avant-scène, 1976
25. ---, ed., Music and Language, Studies in the History of Music (New York, NY) 1, New York: Broude Bros., 1983
26. ---, Monteverdi, le couronnement de Poppée, L'Avant-scène Opéra 115, Paris: L'Avant-scène, 1988
27. ---, The operas of Monteverdi, Opera Guide 45, London/ New York: Calder Publications/ Riverrun Press, 1992
28. ---, Claudio Monteverdi, vom Madrigal zur Monodie, Musik-Konzepte 83-84, Munich: Edition Text + Kritik, 1994
29. ---, Le retour d'Ulysse, Monteverdi, L'Avant-scène opéra 159, Paris: Editions Premieres loges, [1994]
30. Arnold, Denis, "Giovanni Croce and the Concertato Style", Musical Quarterly 39 (1953), 37-48
31. ---, Monteverdi, The Master Musicians, London / New York: J.M. Dent / Farrar, Straus and Cudahy, 1963
32. ---, Marenzio, London: Oxford University Press, 1965
33. ---, Monteverdi Madrigals, BBC Music Guides, London: British Broadcasting Corporation, 1967
34. ---, "Formal Designs in Monteverdi's Music", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, edited by Raffaello Monterosso, 187-216, Verona: Stamperia Valdonega, 1969
35. ---, Monteverdi, The Master Musicians, 2nd ed., London: Dent, 1975
36. ---, "Villanella", The New Grove Dictionary of Music & Musicians, edited by Stanley Sadie, vol. 19, 770-773, 6th ed., London: Macmillan, 1980
37. ---, Monteverdi Church Music, BBC Music Guides, London: British Broadcasting Corporation, 1982
38. ---, "Monteverdi: Some Colleagues and Pupils", The New Monteverdi Companion, edited by Denis Arnold and Nigel Fortune, 121, London: Faber & Faber, 1985
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67. Bauer, Marion, Miscellaneous papers, PHYSICAL DETAILS: 5 linear in. (1 box); CALL NUMBER: MC 3; LOCATION: New York University Archives, Elmer Holmes Bobst Library, 70 Washington Square South, New York, NY 10012. -- NOTES: Topical. -- Marion Eugenie Bauer was a composer, writer, critic, editor, and professor of music. She was born in Walla Walla, Washington on August 15, 1887. Bauer received an honorary Master of Arts degree from Whitman College in 1932 and an honorary Doctor of Music from the New York College of Music in 1951. She became the first woman faculty member of the Music Department at New York University in 1926 and remained at the University until 1951. Marion Bauer died on August 9, 1955. -- SUMMARY: The papers consist of unpublished manuscripts of Bauer's proposed books, articles, and speeches. Some published material and biographical information is included. -- NOTES: Gift of Frederic Stoessel, 1976 and Harrison Potter, 1982. -- INDEXES: Unpublished guide available (folder level control). -- SUBJECTS: Beethoven, Ludwig van, 1770-1827; Brahms, Johannes, 1833-1897; Liszt, Franz, 1811-1886; Monteverdi, Claudio, 1567-1643; Schumann, Robert, 1810-1856; Wagner, Richard, 1813-1833 (1936-1951)
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373. Lockwood, Lewis, "A View of the Early Sixteenth-Century Parody Mass", Queen's College: Twenty-Fifth Anniversary Festschrift, edited by A. Mell, 53-77, Flushing, NY: Queen's College, 1964
374. ---, "On Parody as Term and Concept in Sixteenth-Century Music", Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue, 560-575, New York: Norton, 1966
375. ---, "Monteverdi and Gombert: the Missa In illo tempore of 1610", De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, edited by Peter Cahn and Ann-Katrin Heimer, 457-469, Musikwissenschaftliche Publikationen, Hochschule für Musik und Darstellende Kunst Frankfurt/Main, edited by Herbert Schneider, 2, Hildesheim, Zurich and New York: Georg Olms Verlag, 1993
376. Lowinsky, Edward Elias, Secret Chromatic Art in the Netherlands Motet, New York: Russell and Russell, 1955 [1946?]
377. ---, Cipriano de Rore's Venus Motet: Its Poetic and Pictorial Sources, [Provo, Utah]: College of Fine Arts and Communications, Brigham Young University, c1986
378. Luoma, Robert Gust, "Relationships between Music and Poetry (Cipriano de Rore's Quando signor lasciate)", Musica disciplina 31 (1977), 135-154
379. ---, Music, Mode, and Words in Orlando di Lasso's Last Works / Robert C. [sic] Luoma, Studies in the history and interpretation of music 11, Lewiston, NY: E. Mellen Press, c1989
380. Mabbett, Margaret A., The Italian Madrigal, 1620-1655, Ph.D. Dissertation, University of London (King's College), 1989
381. MacClintock, Carol, "New Sources of Mantuan Music", Journal of the American Musicological Society 22 (1969), 508-511
382. ---, ed., Readings in the History of Music in Performance, Bloomington: Indiana University Press, 1979
383. Mack, Gerald Raymond, A performance and analysis of the Messa III a quattro voci da cappella, by Claudio Monteverdi, Ed.D. Dissertation, Columbia University, 1966
384. Mackenzie, Pierre Henri Parnell, Cipriano de Rore's Second Book of Four- Voiced Madrigals, 1557, Ph.D. Dissertation, c1991
385. Magini, Alessandro, Indagini stilistiche intorno L'Incoronazione di Poppea, Ph.D. Dissertation, University of Bologna, 1983 or 1984
386. Malipiero, Gian Francesco, ed., Claudio Monteverdi: Tutte le opere nuovamente date in luce, Asolo, 1926-1942
387. ---, Claudio Monteverdi, I Grandi musicisti italiani e stranieri, Milan: Fratelli Treves, 1929
388. ---, Così � parl• Claudio Monteverdi, La Coda di paglia 4, Milan: All'insegna del pesce d'oro, 1967
389. ---, Cos� parl• Claudio Monteverdi, La Coda di paglia 4, Milan: All'insegna del pesce d'oro, 1967
390. Maniates, Maria Rika, Mannerism in Italian Music and Culture, 1530-1630, Chapel Hill/ Manchester: University of North Carolina Press/ Manchester University Press, 1979
391. Marani, Pietro C., ed., Fra Rinascimento, manierismo e realta: scritti di storia dell'arte in memoria di Anna Maria Brizio, [Florence]: Giunti Barbera, [1984]
392. Marcase, Donald E., Adriano Banchieri, `L'organo suonarino': Translation, Transcription and Commentary, Ph.D. Dissertation, Indiana University, 1970
393. Marinelli, Peter V., Pastoral, The Critical Idiom, ed. John Jump, 15, London: Methuen, 1971
394. Marinoni, Giovanni Battista, Fiori poetici raccolti nel funerale del ... signor Clavdio Monteverdi: maestro di cappella della ducale di S. Marco. Consecrati da d. Gio: Battista Marinoni, detto Gioue ... all'illvstrssimi [!] sig. procvratori di chiesa di S. Marco, Venice: F. Miloco, 1644
395. Martini, Padre Giambattista, Esemplare o sia Saggio fondamentale pratico di contrappunto fugato, Bologna: Lelio dalla Volpe, 1775
396. Martinoty, Jean-Louis, Voyages à l'intérieur de l'opéra baroque: de Monteverdi à Mozart, Paris?: Fayard, c1990
397. Mays, Kenneth Robert, Harmonic Style in the Madrigals of Claudio Monteverdi, Ph.D. Dissertation, Indiana University, 1971
398. McClary, Susan Kaye, The Transition from Modal to Tonal Organization in the Works of Monteverdi, Ph.D. Dissertation, Harvard University, 1976
399. ---, Feminine Endings: Music, Gender, and Sexuality, Minneapolis: University of Minnesota Press, 1991
400. Meier, Bernhard, "Musiktheorie und Musik im 16. Jahrhundert", Kongressbericht Kassel 1962, 356-359, Kassel: Bärenreiter, 1963
401. ---, "Wortausdeutung und Tonalität bei Orlando di Lasso", Kirchenmusikalisches Jahrbuch 47 (1963), 75-104
402. ---, Die Tonarten der klassischen Vokalpolyphonie nach den Quellen dargestellt, Utrecht: Oosthoek, Scheltema & Holkema, 1974
403. ---, "Zur Tonart der Concertato-Motetten in Monteverdis Marienvesper", Claudio Monteverdi: Festschrift Reinhold Hammerstein zum 70. Geburtstag, edited by Ludwig Finscher, 359-368, Laaber: Laaber-Verlag, 1986
404. ---, The Modes of Classical Vocal Polyphony Described According to the Sources, New York: Broude Bros., 1988
405. Meneghini, M., "Villanelle alla napoletana", Zeitschrift für romanische Philologie 16-17 (1892-1893), [vol. 16] 476ff; [vol. 17] 411-489
406. Meredith, Henry Morgan, Girolamo Fantini's Trumpet Method: A Practical Edition, D.M.A. Thesis, University of Northern Colorado, 1984
407. Messiaen, Olivier, Vingt le‡ons d'harmonie: dans le style de quelques auteurs importants de l'`Histoire Harmonique' de la musique depuis Monteverdi jusqu'à Ravel: précédées d'une note de l'auteur et de remarques sur la réalisation de chaque le‡on en particulier, Bibliothèque-Leduc B.L. 744, Paris: Leduc, 1940
408. Miller, Jonathan Marcus, Word-Sound and Musical Texture in the Mid-Sixteenth-Century Venetian Madrigal, Ph.D. Dissertation, c1991
409. Mirollo, James V., The poet of the marvelous, Giambattista Marino, New York: Columbia University Press, 1963
410. Mitjana y Gordon, Rafael, Claudio Monteverde (1567-1643) y los origenes de la opera italiana; conferencia leida en el Centro de estudios esteticos de Uppsala el 7 de diciembre de 1909, Málaga: Establecimiento tipografico "La moderna", 1911
411. Mönkemeyer, Helmut, ed., Italienische Meister: Madrigal-Fantasien zu fünf Stimmen, um 1635, Consortium, Wilhelmshaven and New York: Heinrichshofen's Verlag / C. F. Peters Corp., [1973]
412. Monterosso, Raffaello, "L'estetica di Gioseffo Zarlino", Chigiana 24 (1967), 13-28
413. ---, ed., Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, Verona: Stamperia Valdonega, 1969
414. ---, "Strutture ritmiche nel madrigale cinquecentesco", Studi musicali 3 (1974), 287-308
415. Monteverdi, Claudio, Opera omnia / Claudio Monteverdi; a cura della Fondazione Claudio Monteverdi, Instituta et monumenta, Ser. 1: Monumenta 5, Cremona: Athenaeum Cremonense [Fondazione Claudio Monteverdi], 1970-
416. Monteverdi, Claudio and Giacomo Badoaro, [Il retorno d'Ulisse in patria; drama in musica, rappresentato in Venetia nel Teatro di San Cassiano, l'anno 1641. Poesie de Giacomo Badiari, musica di Claudio Monteverde], NOTES: Manuscript in unknown hand. -- Flyleaf has handwritten remark: Auctor musicus est Cl. Monteverde judicibus Kiesewetter, Molitor et Ambros. -- [sign.ill.]. -- Original in the Wiener Nationalbibliothek [sic]. -- Sibley Music Library accession no.: 1058243. -- Photocopy (negative). [Vienna?: Ö™sterreichische Nationalbibliothek?, 19--?] ([1641?])
417. Monteverdi, Claudio and Giovanni Francesco Busenello, L'incoronazione di Poppea / Claudio Monteverdi, Biblioteca musica Bononiensis Sezione IV; n. 81, Bologna: Forni Editore, [1969]
418. ---, [L'incoronazione di Poppea. 164-?], Score (108 l.) 21 x 29 cm: Biblioteca nazionale marciana. Manuscript. It. Cl. IV, 439. -- NOTES: The libretto is by G. F. Busenello ([164?])
419. ---, L'incoronazione di Poppea, Manuscript in the Conservatorio di Musica San Pietro a Majella, Naples. -- NOTES: Libretto by Busenello ([16??])
420. Moore, Susan Regina Winter, A study and edition of Claudio Monteverdi's Scherzi musicali of 1607, M.A. Thesis, Pennsylvania State University, unknown
421. Morgan, Jonathan D., Alessandro Orologio's Musical Garden: `Il Primo Libro de Madrigali a Cinque Voci' (1586), M.Mus. Thesis, Royal Holloway College, University of London, 1994
422. Moser, Hans Joachim, Heinrich Schütz: His Life and Work, St Louis, 1959
423. Moses, Gavriel, Literary genre in Monteverdi, Ph.D. Dissertation, Brown University, 1974
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425. Müller, Reinhard, Dramatischer Gesang und Instrumentalsatz bei Claudio Monteverdi, Ph.D. Dissertation, Ludwig-Maximilians-Universität zu München, 1978
426. ---, Der stile recitativo in Claudio Monteverdis Orfeo: dramatischer Gesang und Instrumentalsatz, Münchner Veröffentlichungen zur Musikgeschichte 38, Tutzing: Schneider, 1984
427. Müller-Blattau, Joseph, ed., Die Kompositionslehre Heinrich Schützens in der Fassung seines Schülers Christoph Bernhard, Kassel: Bärenreiter, 1963
428. Murray, Russell E., The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Ph.D. Dissertation, University of North Texas, 1989
429. Music Library Association: New York Chapter, ed., An alphabetical index to Claudio Monteverdi; tutte le opere nuovamente date in luce da G. Francesco Malipiero, Asolo, 1926-1942, Music Library Association Index Series 1, New York: Music Library Association, [1964]
430. Musiol, Josef, Cyprian de Rore, ein Meister der venezianischen Schule, Breslau: [K. Littmann], 1933
431. Myers, Patricia Ann, An Analytical Study of the Italian Cyclic Madrigals Published by Composers Working in Rome, ca. 1540-1614, Ph.D. Dissertation, 1971 or 1972
432. Neumann, Klaus L., ed., Claudio Monteverdi, 1567-1643: 400. Geburtstag, Sonderhinweisdienst Musik / DRA 13. Jahr, Nr. 5a (May 1967), Frankfurt am Main: Deutsches Rundfunkarchiv, [1967]
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435. Newman, Joel, An Index to Capoversi and Titles Cited in Einstein's The Italian Madrigal, Renaissance Society of America Indexes and bibliographies 3, New York: Renaissance Society of America, c1967
436. Norton, Richard, Tonality in Western Culture: A Critical and Historical Perspective, University Park, PA: Pennsylvania State University Press, 1984
437. Nowicka-Jezowa, Alina, Madrygaly staropolskie: z dziej¢w liryki milosnej w epoce renesansu i baroku, Studia staropolskie 47, Wroclaw: Zaklad Narodowy im. Ossolinskich, 1978
438. Nuernberger, Louis Dean, The Five-Voice Madrigals of Cipriano de Rore, Ph.D. Dissertation, 1963
439. Nutter, David Alan, The Italian polyphonic dialogue of the sixteenth century, Ph.D. Dissertation, 1977
440. Nutton, Vivian, ed., Medicine at the Courts of Europe, 1500-1837, London: Routledge, 1990
441. Obniska, Ewa, Claudio Monteverdi, (Gdansk: Archidiocesan Press, Stella Maris Ed., 1993)
442. Opernhaus Zürich, ed., Monteverdi, Gastspiele: Hamburg, Wien, Edinburgh, Berlin, Mailand/ [Herausgeber] Opernhaus Zürich; [Direktion: Claus Helmut Drese], Zurich: O. Füssli, [1978?]
443. Orff, Carl, Lamenti, trittico teatrale liberamente tratto da opere di Claudio Monteverdi, Mainz and New York: B. Schott's Söhne / Schott Music Corp., [c1958]
444. Ossi, Massimo Michele, "L'armonia raddoppiata: On Claudio Monteverdi's Zefiro torna, Heinrich Schütz's Es steh Gott auf, and Other Early Seventeenth-Century Ciaccone", Studi musicali 17 (1988), 225-252
445. ---, Claudio Monteverdi's Concertato Technique and its Role in the Development of his Musical Thought, Ph.D. Dissertation, Harvard University, 1989
446. ---, "Claudio Monteverdi's `Ordine novo, bello et gustevole': The Canzonetta as Dramatic Module and Formal Archetype", Journal of the American Musicological Society 45 (1992), 261-304
447. Osthoff, Wolfgang, "Monteverdi-Funde", Archiv für Musikwissenschaft 14 (1957), 253-280
448. ---, ed., C. Monteverdi: Dodici composizioni inedite sacre e profane, Milan: Ricordi?, 1958
449. ---, Zur Bologneser Aufführung von Monteverdis "Ritorno di Ulisse" im Jahre 1640, Ö™sterreichische Akademie der Wissenschaften, Philosophisch-Historische Klasse, Anzeiger, Sonderabdruck, Vienna: R.M. Rohrer, 1958
450. ---, Monteverdistudien [Das dramatische Spätwerk Claudio Monteverdis], Münchner Ver”ffentlichungen zur Musikgeschichte 3, Vol. 1, Tutzing: H. Schneider, 1960
451. ---, Theatergesang und darstellende Musik in der italienischen Renaissance (15. und 16. Jahrhundert), Vol. 1-2, Tutzing: Hans Schneider, 1969
452. Owen, Harold, Modal and tonal counterpoint: from Josquin to Stravinsky, New York and Toronto: Schirmer Books / Maxwell Macmillan, c1992
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455. ---, The Madrigals of Marc'Antonio Ingegneri, Ph.D. Dissertation, Royal Holloway (University of London), 1995
456. Palisca, Claude V., The Beginnings of Baroque Music: Its Roots in 16th-Century Theory and Polemics, Ph.D. Dissertation, Harvard University, 1953
457. ---, "Girolamo Mei: Mentor to the Florentine Camerata", Musical Quarterly 40 (1954), 1-20
458. ---, "Marco Scacchi's Defense of Modern Music (1649)", Words and Music, The Scholar's View: A Medley of Problems and Solutions Compiled in Honor of A. Tilman Merritt, edited by L. Berman, 189-235, Cambridge, MA: Harvard University, Department of Music, 1972
459. ---, "Ut oratoria musica: The Rhetorical Basis of Musical Mannerism", The Meaning of Mannerism, edited by Franklin W. Robinson and Stephen G. Nichols, 37-65, Hanover, NH: University Press of New England, 1972
460. ---, Baroque Music, 2nd ed., Englewood Cliffs, NJ: Prentice-Hall, 1981
461. ---, "The Artusi-Monteverdi Controversy", The New Monteverdi Companion, edited by Denis Arnold and #Nigel Fortune, 127-158, London: Faber & Faber, 1985
462. ---, Humanism in Italian Renaissance Musical Thought, New Haven: Yale University Press, 1985
463. Pandi, Marianne, Claudio Monteverdi, Kis zenei könyvtar 19, Budapest: Gondolat Kiado, 1961
464. Pannain, Guido, Da Monteverdi a Wagner; pagine di storia della musica, Le Vie, [Milan]: Ricordi, [1955]
465. Parry, C.Hubert H., "The Significance of Monteverde", Proceedings of the Musical Association 42 (1916), 51-67
466. Parry, J.H., The Age of Reconnaissance: Discovery, Exploration and Settlement 1450-1650, Berkeley, CA: University of California Press, 1981
467. Passuth, László, Monteverdi: der Roman eines grossen Musikers [Nach dem ungarischen Original übertragen von Alexander Sacher-Masoch], Vienna: P. Neff, 1959
468. ---, A mantuai herceg muzsikusa; Claudio Monteverdi koranak regenyes tortenete, A Zenemukiado eletrajzregenyei, Budapest: Zenemukiado Vallalat, 1959 [c1957?]
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471. Pavlicic, Pavao, Poetika manirizma, Kritika, kultura, komunikacija, Zagreb: August Cesarec, 1988
472. Perella, Nicolas James, The critical fortune of Battista Guarini's "Il pastor fido", Biblioteca dell'"Archivum Romanicum", Serie I: Storia, letteratura, paleografia 117, Florence: Leo S. Olschki, 1973
473. Pestelli, Giorgio, "Le poesie per la musica monteverdiana: il gusto poetico di Monteverdi", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo, edited by Raffaello Monterosso, 349-360, Venice and Mantua, 1968
474. Petrobelli, Pierluigi, ""Ah dolente partita": Marenzio, Wert, Monteverdi", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo, edited by Raffaello Monterosso, 361-376, Venice and Mantua, 1968
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476. Piperno, Franco, Gli "eccellentissimi musici della citta di Bologna": con uno studio sull'antologia madrigalistica del Cinquecento, Madrigalisti dell'Italia settentrionale 2 (Biblioteca (Historiae Musicae Cultores, Florence), 39), Florence: L.S. Olschki, 1985
477. Pirrotta, Nino, "Music and Cultural Tendencies in Fifteenth-Century Italy", Journal of the American Musicological Society 19 (1966), 127-161
478. ---, "Ars nova e stil novo", Rivista italiana di musicologia 1 (1966), 3-19
479. ---, "Early Opera and Aria", New Looks at Italian Opera: Essays in Honor of Donald Jay Grout, edited by William Austin, 39-107, Ithaca, NY: Cornell University Press, 1968
480. ---, "Scelte poetiche di Monteverdi", Nuova rivista musicale italiana 2 (1968), 10-42, 226-254
481. ---, "Teatro, scene, e musica nelle opere di Monteverdi", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, edited by Raffaello Monterosso, 45-67, Verona: Stamperia Valdonega, 1969
482. ---, "Monteverdi e i problemi dell'opera", Studi sul teatro veneto fra rinascimento ed età barocca, 321-343, Florence, 1971
483. ---, "Novelty and Renewal in Italy, 1300-1600", Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag, edited by H.H. Eggebrecht and Max Lütolf, 49-63, Munich, 1973
484. ---, "Monteverdi's Poetic Choices", Music and Culture in Italy from the Middle Ages to the Baroque, 271-316, Cambridge, MA: Harvard University Press, 1984
485. ---, Musica tra medioevo e rinascimento, Saggi 670, 1st ed., Turin: G. Einaudi, 1984
486. ---, Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, Studies in the History of Music 1, Cambridge, MA: Harvard University Press, 1984
487. ---, Scelte poetiche di musicisti: teatro, poesia e musica da Willaert a Malipiero, Musica critica, 1st ed., Venice: Marsilio, 1987
488. Pirrotta, Nino and Elena Povoledo, Li due Orfei: da Poliziano a Monteverdi, 1st ed., Turin: Edizioni RAI, 1969
489. ---, Li due Orfei: da Poliziano a Monteverdi; con un saggio critico sulla scenografia di Elena #Povoledo, Saggi (Einaudi) 556, 2nd ed., Turin: Einaudi, 1975
490. ---, Music and Theatre from Poliziano to Monteverdi, Cambridge: Cambridge University Press, 1982
491. Pitkin, Hanna Fenichel, Fortune is a Woman: Gender and Politics in the Thought of Niccolo Machiavelli, Berkeley, CA: University of California Press, 1984
492. Pontiroli, Giuseppe, Notizie sui Monteverdi, su personaggi ed artisti del loro ambiente: La casa natale di Claudio Monteverdi (spogli d'archivio), Biblioteca storica cremonese 17, Cremona: Bollettino storico cremonese, 1968
493. Porter, William V., The Origins of the Baroque Solo Song: A Study of Italian Manuscripts and Prints from 1590-1610, Ph.D. Dissertation, Yale University, 1962
494. Powers, Harold S., "Tonal Types and Modal Categories in Renaissance Polyphony", Journal of the American Musicological Society 34 (1981), 428-470
495. ---, "Monteverdi's Model for a Multimodal Madrigal", In Cantu et in Sermone: For Nino Pirrotta on his 80th Birthday, edited by F. Della Seta and F. Piperno, 185-219, Italian Medieval and Renaissance Studies 2, Florence: Leo S. Olschki, 1989
496. ---, "Is Mode Real? Pietro Aron, the Octenary System, and Polyphony", Basler Jahrbuch für historische Musikpraxis 16 (1993), 9-52
497. Praz, Mario, Il giardino dei sensi: studi sul manierismo e il barocco, Saggi; 68, 1st ed., [Milano]: A. Mondadori, 1975
498. Preitano, Massimo, "Gli albori della concezione tonale: aria, ritornello strumentale e chitarra spagnola del primo seicento", Rivista italiana di musicologia 29/1 (1994), 27-88
499. Price, Russell, "Virtu in Machiavelli's Il Principe", Political Science 22/2 (1970) (December), 43-49. N
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501. Prunières, Henry, "Monteverdi and French Music", The Sackbut 3 (1922), 483-493
502. ---, Claudio Monteverdi, Les maŒtres de la musique, Paris: F. Alcan, 1924
503. ---, Monteverdi; his life and work, Dent's International Library of Books on Music, ed. A. Eaglefield-Hull, London and Toronto: J.M. Dent & Sons, 1926
504. ---, La vie et l'oeuvre de Claudio Monteverdi, Paris: Librairie de France, 1926
505. ---, "Monteverdi e la musica francese del suo tempo", Rassegna musicale 2 (1929), 483-493
506. Quadrio, Francesco Saverio, Della storia e della ragione d'ogni poesia, 5 vols., Milan: Francesco Agnelli, 1739-52
507. Quereau, Quentin W., "Sixteenth-Century Parody: An Approach to Analysis", Journal of the American Musicological Society 31 (1978), 407-441
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511. ---, "Italská monodie: Príspevek k problému barokní jednohlasé písne", Akord 5 (1934), 3-7
512. ---, Slohové problémy italské monodie: Príspevek k dejinám jednohlasé barokní písne, Prague and Brno: Melpa, 1938
513. ---, Italská monodie z doby raného baroku v Cechách, Olomouc: Velehrad, 1946
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515. ---, "Die italienische begleitete Monodie und das Problem der Entwicklung der italienischen Solokantate", Liber amicorum Charles van den Borren, 166-191, Antwerp: Imprimerie Lloyd Anversois, 1964
516. ---, Stilprobleme der italienischen Monodie, Opera universitatis Purkynianae Brunensis, Facultas Philosophica 103, Prague: Státní pedagogické nakladatelství, 1965
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525. Riemann, Hugo, Musik-Lexikon: Theorie und Geschichte der Musik, Leipzig: Verlag des Bibliographischen Instituts, 1882
526. ---, "Eine siebensätzige Tanzsuite von Monteverdi v.J. 1607", Sammelbände der Internationalen Musikgesellschaft 14 (1912-13), 26-33
527. ---, Handbuch der Musikgeschichte, Leipzig, 1912
528. Rinuccini, Ottavio, Poesie del Sr. Ottavio Rinuccini, Florence: I Giunti, 1622
529. Robb, Nesca A., The Literary and Artistic Manifestations of Neo-Platonism in the Italian Renaissance, D.Phil Dissertation, Oxford University, 1933
530. ---, Neoplatonism of the Italian Renaissance, London: George Allen & Unwin, 1935
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532. ---, "Music at S. Maria Maggiore, Bergamo, 1614-1643", Music & Letters 47 (1966), 296
533. ---, North Italian Liturgical Music in the Early Seventeenth Century, Ph.D. Dissertation, University of Cambridge, 1968
534. ---, Palestrina, London, 1971
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539. ---, Lassus, London, 1982
540. ---, North Italian Church Music in the Age of Monteverdi, Oxford Monographs on Music, Oxford: Clarendon Press, 1984
541. ---, The Madrigal, Early Music Series [London, 1976] 11, 2nd ed., Oxford and New York: Oxford University Press, 1990
542. Roche, Jerome and Elizabeth Roche, A Dictionary of Early Music: from the Troubadours to Monteverdi, London: Faber Music, 1981
543. Roche, Maurice, Monteverdi, Collections microcosme. Solfèges 14, [Paris]: Editions du Seuil, [1960]
544. Rodgers, James Bruce, The Madrigals of Orazio Vecchi, Ph.D. Dissertation, [University of California, Los Angeles?], 1954
545. Ronga, Luigi, Gerolamo Frescobaldi, Turin: Fratelli Bocca, 1930
546. ---, "Tasso e Monteverdi", Poesia 1 (1945)
547. Rosand, Ellen, "The Descending Tetrachord: An Emblem of Lament", Musical Quarterly 65 (1979), 346-359
548. ---, "Iro and the Interpretation of Il Ritorno d'Ulisse in Patria", Journal of Musicology 7.2 (1989), 141-164.
549. ---, "Did Monteverdi Write L'Incoronazione Di Poppea And Does It Matter?", Opera News 59/1 (1994) (July), 20
550. Rowland, Daniel B., Mannerism: Style and Mood; An Anatomy of Four Works in Three Art Forms, Yale College series 2, New Haven: Yale University Press, 1964
551. Royds, Graham, Catalogue of the Hans Ferdinand Redlich Collection of Musical Books and Scores (including Material on the Second Viennese School)/ [University of Lancaster Library], Lancaster University Library: Miscellaneous Publications Series, Lancaster: Lancaster University, 1976
552. Rubio, Hector Edmundo, Der Manierismus in der Vokalpolyphonie des 16. Jahrhunderts, Frankfurter Beiträge zur Musikwissenschaft 5, Tutzing: Hans Schneider, c1982
553. ---, Der Manierismus in der Vokalpolyphonie des 16. Jahrhunderts, Frankfurter Beiträge zur Musikwissenschaft 5, Tutzing: H. Schneider, c1982
554. Sachs, Klaus-Jürgen, "`Theorica e Prattica di Musica' in Pietro Pontios Dialogo (Parma 1595)", Musiktheorie 4.2 (1989), 3-14
555. ---, "Musikalische "Struktur" im Spiegel der Kompositionslehre von Pietro Pontios Ragionamento di musica (1588)", Zeichen und Struktur in der Musik der Renaissance: Ein Symposium aus Anlass der Jahrestagung der Gesellschaft für Musikforschung, Münster (Westfalen) 1987, 141-158, Kassel: Bärenreiter, 1989
556. Sacre, James, Pour une definition semiotique du manierisme et du baroque: des "Sonnets pour Helene" de Ronsard a "La Maison d'Astree" de Tristan l'Hermite, Documents de recherche (Ecole des hautes etudes en sciences sociales, Groupe de recherches semio-linguistiques) 4, Besancon: Groupe de recherches semio-linguistiques, Ecole des hautes etudes en sciences sociales, Centre national de la recherche scientifique, [1979]
557. Salzer, Felix, "Heinrich Schenker and Historical Research: Monteverdi's Madrigal Oimè, se tanto amate", Aspects of Schenkerian Theory, edited by David Beach, 135-152, New Haven & London: Yale University Press, 1983
558. Sandberger, Adolf, ed., Claudio Monteverdi: Orfeo; Facsimile des Erstdrucks der Musik / eingeleitet und herausgegeben von Adolf Sandberger, Augsburg: B. Filser, 1927
559. Santoro, Elia, La famiglia e la formazione di Claudio Monteverdi: note biografiche con documenti inediti, Annali della biblioteca governativa e libreria civica di Cremona 18, fasc. 1, Cremona: Athenaeum Cremonense, 1967
560. ---, Iconografia Monteverdiana. [A cura del] Comitato cremonese per le celebrazioni monteverdiane nel IV centenario della nascita, Annali della biblioteca governativa e libreria civica di Cremona 19, fasc. 1, Cremona: Athenaeum Cremonense, 1968
561. Sartori, Claudio, Monteverdi, Brescia: Scuola, 1953
562. Sauser, Rudolf, ed., Monteverdi Gastspiele: Hamburg, Wien, Edinburgh, Berlin, Mailand, Zürich: [Orell Füssli for] Opernhaus Zürich, 1978?
563. Schalz, Nicolas, Studien zur Komposition des Gloria: musikalische Formgestaltung von der Gregorianik bis zu Monteverdi, Frankfurter Beiträge zur Musikwissenschaft 3, Tutzing: Schneider, 1980
564. Scheer, W., Die Frühgeschichte der italienischen Villanella, Nördlingen, 1963
565. Schellhous, Rosalie, "Fétis's Tonality as a Metaphysical Principle: Hypothesis for a New Science", Music Theory Spectrum 13/2 (1991), 219-240
566. Schenker, Heinrich, Johannes Brahms, Oktaven und Quinten u.A., aus dem Nachlass herausgegeben und erläutert, Vienna: Universal, 1933
567. Schmalzriedt, Siegfried, Heinrich Schütz und andere zeitgenössische Musiker in der Lehre Giovanni Gabrielis; Studien zu ihren Madrigalen, Tübinger Beiträge zur Musikwissenschaft 1, Neuhausen-Stuttgart: Hänssler-Verlag, 1972
568. Schneider, Louis, Un précurseur de la musique italienne aux XVIe et XVIIe siècles: Claudio Monteverdi (1567-1643), l'homme et son temps, le musicien; Ouvrage orné de huit gravures hors texte, 3rd ed., Paris: Perrin et Cie, 1921 [c1920]
569. Schoenberg, Arnold, At present everywhere where music has a place, PHYSICAL DETAILS: [20] leaves ([22] p.) ; 25 cm. or smaller. Holograph (black ink, pencil, red pencil); IN: Schoenberg, Arnold, 1874-1951. Collection of text manuscripts. -- 1890-1951. Related record ID (CLAS)CASG86-A52; CALL NUMBER: T40.14; NOTES: In English; Title from first line. Leaves [1-2] (p. 1-4) are small (17x13 cm.) pieces of white paper showing a horizontal crease through the middle (there are 2 small perpendicular cuts made through the each crease), to the left side of which are attached strips of brown paper (24x3 cm.) in which are punched 4 loose- leaf binding holes (1, 2, 1). Leaves 5-[12] (p. 5-11, [12]) are white paper (25x15 cm.) manufactured with 3 loose-leaf binding holes in the left margin, leaves 5-6 are only written on the verso and have 4 loose-leaf binding holes punched in the left margin of the verso, leaves 7-[12] are only written on the recto. Leaves 1-[12] comprise a single essay, the remaining leaves contain more fragmented writings written at various times. Leaves [13-17] & [20] are white paper (20x13 cm.) written only on the recto with one irregularly shaped hole in the middle of the left margin, above that hole are one smaller hole and a staple mark (perforations). Leaf [18] is white paper (34 blue lines, 24x15 cm.) manufactured with 3 loose-leaf binding holes in the left margin, written only on the recto and signed. Leaf [19] is on white paper (20x13 cm.) manufactured with 2 loose-leaf binding holes in the left margin, in addition there is a 3rd irregular hole between these, there is rust from a paperclip on the right side, written only on the recto. Microfiche 60 (Z41). -- SUMMARY: Schoenberg distinguishes between art, or particularly music as experienced through the interpretation of performance versus its perfect existence in the mind of the composer. Additional fragments are primarily examples illustrating this difference. -- NOTES: Opening words: (1st part) "At present everywhere where music has a place"... -- (2nd part) "It is the general belief"... -- (3rd part) "Richard Strauss once told a friend"... -- "Popular thinking differs"... -- "A philosopher, an astronomer"... -- "Popular art has also"... -- "You can not become a Johann Strauss"... -- "democracy is dependent on education"... -- "To accomodate to the lowest"... -- "Science, art and religion"... -- "Education wants to elevate"... -- "Chess can not be played"... -- "Mathematics can not so"... -- "If you want to construct"... -- "In war one learns"... -- "Monteverdi wrote for aristocracy"... -- "Art for the few"... -- "Not have serious composers lost"... -- (High borough [sic]) "There could not be anything"... -- "Mister Olin Downes talk over NBC"... -- "The impression of many performances"... -- (Rhythm) "Variety equals nonsense"... -- "If it is art"... -- CITE AS: Arnold Schoenberg Institute, Text Mss. Collection A-Z, Box T40, Folder 14 ([1934?-1949?])
570. ---, Art and the moving pictures [1st-3rd drafts], PHYSICAL DETAILS: 7, [7], 6, 6 leaves ([8], [8], 6, 6 p.); 28 cm. or smaller. 1st draft: typescript carbon (blue ink, some black ink) holograph corrections (rec, blue, green & black pencil & black ink); 2nd draft: typescript (black ink) holograph corrections (pencil, red pencil, black ink) ; 3rd draft (copy 1): typescript (black ink); 3rd draft (copy 2): typescript carbon (black ink) some holograph (blue ink). -- IN: Schoenberg, Arnold, 1874-1951. Collection of text manuscripts. -- 1890-1951. Related record ID (CLAS)CASG86-A52. -- CALL NUMBER: T40.12. -- NOTES: In English. Title from 3rd draft. 1st draft (which is carbon of 2nd draft typescript) is on white letter-size paper (watermark: "CRONICON/U.S.A.") with 2 closely spaced irregularly shaped holes (for binding) in the upper left margin, p. 3 has partial leaf attached, leaves 2-6 are numbered, in addition there is a small leaf (10x17 cm.) of yellowish paper (1 double red line near top, 23 blue lines) written on verso sideways manufactured with 6 holes (3, 3) in left margin, one irregularly shaped hole (for binding) in bottom left corner, "Copyright" is written in red pencil in the left margin of p. [1]. 2nd draft (which is original of 1st draft typescript carbon) is on white letter-size paper (watermark: "CRONICON/U.S.A.") with multiple irregularly shaped holes (ca. 17) (for binding) in left margin, in addition there are three staple marks (rust and perforations) in the left margin, leaves are numbered 1a & 2-3, p. 3 has partial leaf attached, "I want 10 copies" is written in red pencil in the left margin of p. [1], "Copyright by Arnold Schoenberg/April 1940" written in red pencil at bottom of p. 6. -- NOTES: 3rd draft exists in two copies, an original and a carbon, bears a footnote to the title indicating its source in the journal California arts and architecture, on white letter- size paper, original is on heavier weight paper (watermark: "[crown]/ EATON'S/CORRASABLE/BOND/USA/BERKSHIRE/118") than carbon (unwatermarked), p. 2-6 are numbered, the carbon copy is worn and has numbers (50.3.25/1625/ 812.50) written in blue ink at the bottom of p. 6, the original has the mark of a paperclip in the upper left corner, the carbon has the mark of a staple (rust and perforations) in the upper left corner, there is also a yellow stain in the upper left corner of all leaves of the carbon. -- NOTES: Published as "Art and the moving pictures" in California arts and architecture 57/4 (Apr. 1940), p. 12, 38, 40. -- REFERENCES: Rufer. Schriften II C50. -- NOTES: Microfiche 9. -- SUMMARY: Schoenberg bemoans the low artistic subjects which sound films use. -- NOTES: Opening words: "When Berlin's UFA made its first successful experiments"...; CITE AS: Arnold Schoenberg Institute, Text Mss. Collection A-Z, Box T40, Folder 12 (April 1940)
571. Schrade, Leo, Monteverdi: Creator of Modern Music, The Norton library N490, SERIES: The Norton library, N490, New York: W.W. Norton, c1950
572. Schultz, Helmut, Das Madrigal als Formideal; eine stilkundliche Untersuchung mit Belegen aus dem Schaffen des Andrea Gabrieli. Drei Madrigale Andrea Gabrielis im Anhang, Publikationen älterer Musik 10, Hildesheim: G. Olms, 1968
573. Schulz-Buschhaus, Ulrich, Das Madrigal; zur Stilgeschichte der italienischen Lyrik zwischen Renaissance und Barock, Ars poetica: Studien 7, Bad Homburg: Verlag Gehlen, [1969]
574. Scott, Derek, "Sexuality and Musical Style from Monteverdi to Mae West", The Last Post: Music after Modernism, edited by Simon Miller, Manchester/ New York: Manchester University Press/ St Martin's Press, 1993
575. Skinner, Quentin, The Foundations of Modern Political Thought, Vol. 1: The Renaissance, Cambridge: Cambridge University Press, 1978
576. Smith, Patrick J., The Tenth Muse: A Historical Study of the Opera Libretto, 1st ed., New York: Alfred A. Knopf, 1970
577. Smyth, Craig Hugh, Mannerism and maniera, Bibliotheca artibus et historiae, 2nd ed., Vienna, Austria: Irsa, 1992
578. Solerti, Angelo, Le origini del melodramma: testimonianze di contemporanei, Turin: Fratelli Bocca, 1903
579. Stattkus, Manfred H., Claudio Monteverdi, Verzeichnis der erhaltenen Werke (SV), Kleine Ausg. ed., Bergkamen: Musikverlag Stattkus, 1985
580. Steadman, John M., Redefining a period style: "Renaissance," "Mannerism," and "Baroque" in literature, Duquesne studies, Language and literature series 10, Pittsburgh, Pa.: Duquesne University Press, c1990
581. Stedron, Milos, Claudio Monteverdi: genius opery, Hudební profily 25, 1st ed., Prague: Editio Supraphon, 1985
582. Steele, John, "The Later Madrigals of Luca Marenzio", Studies in Music 3 (1969), 17-24
583. ---, "The Concertato Synthesis: Monteverdi's Beatus Primo", Claudio Monteverdi: Festschrift Reinhold Hammerstein zum 10. Geburtstag, edited by Ludwig Finscher, 427-434, Laaber: Laaber-Verlag, 1986
584. Steinitz, Paul, "German Church Music", Opera and Church Music 1630-1750, edited by Anthony Lewis and Nigel Fortune, The New Oxford History of Music 5, London: Oxford University Press, 1975
585. Stevens, Denis, "Madrigali guerrieri, et amorosi: A Reappraisal for the Quatercentenary", Musical Quarterly 53 (1967), 161
586. ---, Monteverdi: Sacred, Secular, and Occasional Music, Rutherford, NJ: Fairleigh Dickinson University Press, c1978
587. ---, ed., The letters of Claudio Monteverdi, translated and introduced by Denis Stevens, London and Boston: Faber & Faber, 1980
588. ---, ed., The letters of Claudio Monteverdi / translated and introduced by Denis Stevens, New York: Columbia University Press, c1980
589. ---, "Monteverdiana 1993", Early Music 21/4 (1993), 565
590. Stevens, Denis et al., The story of great music: From the Renaissance [Sound recording], New York Public Library Call No.
591. Strainchamps, Edmond, "The life and death of Caterina Martinelli: New light on Monteverdi's `Arianna'", Early Music History 5 (1985), 155-186
592. Strunk, Oliver, ed., Source Readings in Music History: From Classical Antiquity through the Romantic Era, New York: W.W. Norton, 1950
593. Stubbs, Stephen, "`L'armonia sonora': Continuo Orchestration in Monteverdi's `Orfeo'", Early Music 22/1 (1994), 86
594. Studing, Richard and Elizabeth Kruz, Mannerism in art, literature, and music: a bibliography, Checklists in the humanities and education, San Antonio: Trinity University Press, c1979
595. Szabolcsi, Bence, "Osteuropäische Züge in der italienischen Monodie des 17. Jahrhunderts", Sborník prací filosofické fakulty Brnenské university, Rada umenovedná (F), 9 (1965), 319-324
596. Szweykowski, Zygmunt M., Miedzy kunsztem a ekspresja; II: Rzym [From Virtuosity to Expression; II: Rome], 1st ed., Krak¢w: Musica Iagellonica [Uniwersytet Jagiellonski, Katedra Historii i Teorii Muzyki], 1994
597. Taddeo, Edoardo, Il manierismo letterario e i lirici veneziani del tardo Cinquecento, Biblioteca di cultura 56, Roma: Bulzoni, [1974]
598. Tellart, Roger, Claudio Monteverdi; l'homme et son oeuvre, Musiciens de tous les temps 4, Paris: Seghers, [c1964]
599. Teo, Kian-Seng, Chromaticism in the English Madrigal, Outstanding Dissertations in Music from British Universities, New York: Garland, 1989
600. Tessier, André, "Les deux styles de Monteverde", Revue musicale 3/8 (1922), 223-254
601. ---, "Monteverdi e la filosofia dell'arte", Rassegna musicale 2 (1929), 459-468
602. Testa, Fausto, Spazio e allegoria nel giardino manierista: problemi di estetica, Pubblicazioni della Facolta di lettere e filosofia dell'Universita di Pavia 62, 1st ed., Firenze: Nuova Italia, 1991
603. Thorwald, Jürgen, Die Monteverdi-Mission, 2nd ed., Munich: Droemer Knaur, c1989
604. Tiby, Ottavio, Claudio Monteverdi, Collezione "I maestri della musica" 30, Turin: Arione, n.d.
605. Tomlinson, Gary Alfred, Rinuccini, Peri, Monteverdi, and the Humanist Heritage of Opera, Ph.D. Dissertation, University of California, Berkeley, 1979
606. Tomlinson, Gary, "Madrigal, Monody, and Monteverdi's `via naturale alla immitatione'", Journal of the American Musicological Society 34 (1981), 60-108
607. ---, "Music and the Claims of Text: Monteverdi, Rinuccini, and Marino", Critical Inquiry 8 (1982), 565-589
608. ---, "Twice Bitten, Thrice Shy; or Monteverdi's `finta' Finta pazza", Journal of the American Musicological Society 36 (1983), 303-311
609. ---, Monteverdi and the End of the Renaissance, Berkeley & Los Angeles: University of California Press, 1987
610. Torri, Luigi, [Claudio Monteverdi], Sonata sopra "Sancta Maria". per voce di soprano con istrumenti (1610): Riduzione per canto, quartetto d'archi e pianoforte di Luigi Torri, [Pisa, 1907]. Manuscript in Sibley Library. -- PHYSICAL DETAILS: 1 score (28 p.) and 6 parts. 33 cm. -- NOTES: For soprano voice, string quartet and piano. Originally for cantus with eight instruments (string and brass). -- Caption title. Manuscript in ink. -- Parts are for tenor voice, 2 violins, viola, violoncello and harmonium, copied in hand different from score; inscription at end of harmonium part reads "Pisa 24. Febbraio 1907. Alfredo Luchi." ([1907])
611. Turchi, Marcello, ed., Opere de Gabriello Chiabrera e lirici non marinisti del seicento, Classici italiani, 2nd ed., Turin: Unione Tipografico-Editrice Torinese, 1973
612. Vacchelli, Anna Maria M., "Elementi stilistici nell'Euridice di Jacopo Peri in rapporto all'Orfeo di Monteverdi", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, edited by Raffaello Monterosso, 117-126, Verona: Stamperia Valdonega, 1969
613. Vecchi, Giuseppe, Le accademie musicali del primo seicento e Monteverdi a Bologna, La Musica a Bologna, B: Età barocca e moderna 1, Bologna: AMIS, 1969
614. Vogel, Emil, "Claudio Monteverdi", Vierteljahrsschrift für Musikwissenschaft 3 (1887), 315-450
615. Vossler, Karl, Das deutsche Madrigal: Geschichte seiner Entwickelung bis in die Mitte des XVIII. Jahrhunderts, Litterarhistorische Forschungen, ed. J. Schick and M.von Waldberg, 6, Weimar: E. Felber, 1898
616. Walker, D.P., "Orpheus as Theologian and Renaissance Platonists", Journal of the Warburg and Courtauld Institutes 16 (1953), 100-120
617. Walker, Frank, "Salvator Rosa and Music", Monthly Musical Record 79, 80 (1949-1950), 199-205 (vol. 79), 13-16 and 32-36 (vol. 80)
618. Walker, Thomas, "Ciaccona and Passacaglia: Remarks on Their Origin and Early History", Journal of the American Musicological Society 21 (1968), 318
619. Watty, A., "Zwei Stücke aus Claudio Monteverdis 6. Madrigalbuch in handschriftlicher Frühfassung", Schütz-Jahrbuch 7/18 (1985-6), 124-136
620. Weber, Eileen Lovett, An analysis of the Seconda Prattica in Claudio Monteverdi's Madrigals, M.M. Thesis, University of Tennessee, Knoxville, 1989
621. Weinberg, Bernard, A History of Literary Criticism in the Italian Renaissance, 2 vols., Chicago, Ill.: Chicago University Press, 1961
622. Weise, Georg, Manierismo e letteratura, Studi (Accademia toscana di scienze e lettere La Colombaria) 43, Firenze: L. S. Olschki, 1976
623. Welch, Robert E., The Dissonance of Monteverdi's `Orfeo', M.M. Thesis, University of Rochester, 1946
624. Westerlund, Gunnar and Eric Hughes, Music of Claudio Monteverdi: a discography, London: British Institute of Recorded Sound, 1972
625. Westrup, Jack Allan, "Monteverde's Orfeo", Musical Times 66 (1925), 1096-1100
626. ---, "Monteverde's Il ritorno d'Ulisse in patria", Monthly Musical Record 58 (1928), 106-107
627. ---, "The Originality of Monteverde", Proceedings of the Musical Association 60 (1934), 1-25
628. ---, "Monteverdi's Lamento d'Arianna", Music Review 1 (1940), 144-154
629. Wettig, Karin, Satztechnische Studien an den Madrigalen Carlo Gesualdos, Europäische Hochschulschriften, series XXXVI (Musikwissenschaft) 45, Frankfurt am Main & New York: P. Lang, c1990
630. Whenham, John, Duet and Dialogue in the Age of Monteverdi, Studies in British Musicology 7, Ann Arbor: UMI Research Press, c1982
631. ---, "The Later Madrigals and Madrigal Books", The New Monteverdi Companion, edited by Denis Arnold and Nigel Fortune, 216-247, London: Faber & Faber, 1985
632. ---, Claudio Monteverdi: Orfeo, Cambridge: Cambridge University Press, 1986
633. ---, "Five Acts, One Action", Claudio Monteverdi: Orfeo, edited by John Whenham, 42-77, Cambridge Opera Handbooks, Cambridge: Cambridge University Press, 1986
634. Winternitz, Emanuel, Musical autographs: from Monteverdi to Hindemith, Vol. 1-2, Princeton, NJ: Princeton University Press, 1955
635. Wistreich, Richard, "`La voce e grata assai, ma...': Monteverdi on singing", Early Music 22/1 (1994), 7-19
636. Woolrich, John, Ulysses Awakes: 1989: after Monteverdi: for Viola and Ten Solo Strings, London: Faber Music, c1992
637. Zarlino, Gioseffo, Le istitutioni harmoniche, 1st ed., Venice: n.p., 1558
638. Ziegler, Caspar, Von den Madrigalen. Mit einer Einleitung und Anmerkungen von Dorothea Glodny-#Wiercinski, Ars poetica: Texte 12, [Frankfurt am Main]: Athenäum-Verlag, [1971]
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