Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-23T23:01:53.053Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  10 October 2023

Roseen Giles
Affiliation:
Duke University, North Carolina
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Monteverdi and the Marvellous
Poetry, Sound, and Representation
, pp. 269 - 281
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abrams, Meyer Howard. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: W. W. Norton, 1958.Google Scholar
Aikema, Bernard. ‘Titian’s Mary Magdalen in the Palazzo Pitti: An Ambiguous Painting and Its Critics’. Journal of the Warburg and Courtauld Institutes 57 (1994): 4859.CrossRefGoogle Scholar
Alonso, Giuseppe. ‘Per una bibliografia illustrata dei ritratti di Giambattista Marino’. Annali della facoltà di lettere e filosofia dell’Università degli studi di Milano 63 (2010): 295315.Google Scholar
Anacreon. Greek Lyric, vol. 2, Anacreon, Anacreontea, Choral Lyric from Olympus to Alcman. Translated by David A. Campbell, Loeb Classical Library 143. Cambridge, MA: Harvard University Press, 1988.Google Scholar
Aristotle. Art of Rhetoric. Translated by John Henry Freese. Revised by Gisela Striker, Loeb Classical Library 193. Cambridge, MA: Harvard University Press, 2020.Google Scholar
Aristotle   Nicomachean Ethics. Translated by Harris Rackham, Loeb Classical Library 73. Cambridge, MA: Harvard University Press, 1926.Google Scholar
Aristotle   Physics, vol. 1, Books 1–4. Translated by Philip H. Wicksteed and Francis M. Cornford, Loeb Classical Library 228. Cambridge, MA: Harvard University Press, 1957.Google Scholar
Aristotle   Poetics. In Sources of Dramatic Theory, vol. 1, Plato to Congreve. Translated by Michael J. Sidnell et al. Cambridge: Cambridge University Press, 1991.Google Scholar
Arnold, Denis. Monteverdi. Oxford: Oxford University Press, 2000.Google Scholar
Austen, Jane. Persuasion, edited by Kinsley, James. Oxford: Oxford University Press, 2004.Google Scholar
Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997.Google Scholar
Bellori, Giovanni Pietro. The Lives of the Modern Painters, Sculptors and Architects. Translated by Alice Sedgwick Wohl, Helmut Wohl, and Tomaso Montanari. Cambridge: Cambridge University Press, 2005.Google Scholar
Bembo, Pietro. Prose della volgar lingua. Venice: Taciuno, 1525.Google Scholar
Besutti, Paola. ‘The “Sala degli Specchi” Uncovered’. Early Music 27, no. 3 (1999): 451–65.Google Scholar
Besutti, Paola   ‘Spaces for Music in Late Renaissance Mantua’. In The Cambridge Companion to Monteverdi, edited by Whenham, John and Wistreich, Richard, 7694. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Bianconi, Lorenzo. Music in the Seventeenth Century. Translated by David Bryant. New York: Cambridge University Press, 1987.CrossRefGoogle Scholar
Bion. ‘Lament for Adonis’. In Theocritus, Moschus, Bion, translated by Neil Hopkinson, Loeb Classical Library 28, 506–17. Cambridge, MA: Cambridge University Press, 2015.Google Scholar
Bolland, Andrea. ‘Desiderio and Diletto: Vision, Touch and the Poetics of Bernini’s Apollo and Daphne’. The Art Bulletin 82, no. 2 (2000): 309–30.Google Scholar
Boschetti, Giovanni. Giardino musicale. Rome: Giovanni Battista Robletti, 1621.Google Scholar
Boschini, Marco. La carta del navigar pitoresco. Venice: Baba, 1650.Google Scholar
Brown, Howard Mayer. ‘Genre, Harmony and Rhetoric in the Late Sixteenth-Century Madrigal’. In Renaissance Culture in Context, edited by Brink, Jean R. and Gentrup, William F., 198225. Aldershot: Scolar Press, 1993.Google Scholar
Buch, Laura. ‘The Seconda Prattica and the Aesthetics of Meraviglia: The Canzonettas and Madrigals of Tomaso Pecci (1576–1604)’. PhD diss., University of Rochester, 1993.Google Scholar
Buck, August. ‘Emanuele Tesauro e la teoria del barocco nella letteratura’. Ausonia 28 (1973): 925.Google Scholar
Butt, John. ‘Monteverdi, the 1610 Vespers and the Beginnings of the Modern Musical Work’. Journal of the Royal Musical Association 143, no. 1 (2018): 2150.Google Scholar
Byron, George Gordon, Lord. Don Juan. London: Thomas Davison, 1819.Google Scholar
Cabani, Maria Cristina. ‘Immagine e immaginazione nelle Rime del Tasso’. In Tasso und die bildenden Künste, edited by Schütze, Sebastian and Terzoli, Maria Antonietta, 6985. Berlin: De Gruyter, 2018.Google Scholar
Calcagno, Mauro. From Madrigal to Opera: Monteverdi’s Staging of the Self. Berkeley: University of California Press, 2012.Google Scholar
Calcaterra, Carlo. Il Parnaso in rivolta. Bologna: Società editrice il Mulino, 1961.Google Scholar
Campbell, Stephen J. The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d’Este. New Haven, CT: Yale University Press, 2004.Google Scholar
Carapezza, Paolo Emilio. ‘“Non si levava ancor l’alba novella” cantava il Gallo sopra il Monteverde’. In Claudio Monteverdi: Vom Madrigal zur Monodie, Musik-Konzepte 83/84, edited by Metzger, Heinz-Klaus and Riehn, Rainer, 167–86. Munich: Edition Text + Kritik, 1994.Google Scholar
Carapezza, Paolo Emilio   ‘Tasso e la seconda pratica’. In Tasso: la musica, i musicisti, edited by Balsano, Maria Antonella and Walker, Thomas, 115. Florence: Olschki, 1988.Google Scholar
Cardano, Girolamo. The De Subtilitate of Girolamo Cardano. Edited by Forrester, John M.. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2013.Google Scholar
Cardano, Girolamo   Opera omnia. Edited by Charles Spon. Lyon: Jean Antoine Huguetan and Marc-Antoine Ravaud, 1663.Google Scholar
Carli, Silvia. ‘Energeia and Being-in-Time’. The Review of Metaphysics 71 (September 2017): 4563.Google Scholar
Carminati, Clizia. Giovan Battista Marino tra inquisizione e censura. Rome: Antenore, 2008.Google Scholar
Carson, Anne. Eros the Bittersweet. London: Dalkey Archive Press, 2015.Google Scholar
Carter, Tim. ‘Beyond Drama: Monteverdi, Marino and the Sixth Book of Madrigals (1614)’. Journal of the American Musicological Society 69, no. 1 (Spring 2016): 146.Google Scholar
Carter, Tim.   ‘The Composer as Theorist? Genus and Genre in Monteverdi’s Combattimento di Tancredi e Clorinda’. In Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, edited by Giger, Andreas and Mathiesen, Thomas J., 77116. Lincoln: University of Nebraska Press, 2002.Google Scholar
Carter, Tim.   ‘“E in rileggendo le proprie note”: Monteverdi Responds to Artusi?Renaissance Studies 26, no. 1 (2012): 138–55.Google Scholar
Carter, Tim.   ‘A Florentine Wedding of 1608’. Acta Musicologica 55 (1983): 89107.CrossRefGoogle Scholar
Carter, Tim.   Monteverdi’s Musical Theatre. New Haven: Yale University Press, 2002.Google Scholar
Carter, Tim.   ‘Resemblance and Representation: Towards a New Aesthetic in the Music of Monteverdi’. In Con che soavità: Studies in Italian Opera, Song, and Dance, 1580–1740, edited by Carter, Tim and Fenlon, Iain, 118–34. Oxford: Clarendon Press, 1995.Google Scholar
Carter, Tim.   ‘Sfogava con le stelle Reconsidered: Some Thoughts on the Analysis of Monteverdi’s Mantuan Madrigals’. In Claudio Monteverdi: Studi e prospettive: Atti del convegno, Mantova, 21–24 ottobre 1993, edited by Besutti, Paola, Gialdroni, Teresa, and Baroncini, Rodolfo, 147–70. Florence: Olschki, 1998.Google Scholar
Carter, Tim.   ‘Two Monteverdi Problems and Why They Matter’. Journal of Musicology 19, no. 3 (2002): 417–33.CrossRefGoogle Scholar
Castiglione, Baldassare. The Book of the Courtier. Translated by Sir Thomas Hoby, 1561. London: David Nutt, 1900; repr. New York: AMS Press, 1967.Google Scholar
Castiglione, Baldassare   Il libro del cortegiano. Edited by Quondam, Amedeo. Milan: Garzanti, 1981.Google Scholar
Catullus. The Poems of Catullus. Translated by James Mitchie. New York: Random House, 1969.Google Scholar
Cavallo, Jo Ann.Tasso’s Armida and the Victory of Romance’. In Renaissance Transactions: Ariosto and Tasso, edited by Finucci, Valeria, 77111. Durham: Duke University Press, 1999.CrossRefGoogle Scholar
Cave, Terence. Recognitions: A Study in Poetics. Oxford: Clarendon Press, 1990.CrossRefGoogle Scholar
Cecchi, Paolo. ‘Modalità, grande forma e rapporti tra testo e musica nella Canzon de’ baci di Guarini intonate da Luca Marenzio’. In Guarini: la musica, i musicisti, edited by Pompilio, Angelo, 1329. Lucca: Libreria Musicale Italiana Editrice, 1997.Google Scholar
Chafe, Eric. Monteverdi’s Tonal Language. New York: Schirmer, 1992.Google Scholar
Chater, James. ‘Fonti poetiche per i madrigali di Luca Marenzio’. Rivista italiana di musicologia 13, no. 1 (1978): 60103.Google Scholar
Cherchi, Paolo. ‘Marino and the Meraviglia’. In Culture and Authority in the Baroque, edited by Ciavolella, Massimo and Coleman, Patrick, 6372. Toronto: University of Toronto Press, 2005.CrossRefGoogle Scholar
Chew, Geoffrey. ‘A Model Musical Education: Monteverdi’s Early Works’. In The Cambridge Companion to Monteverdi, edited by Whenham, John and Wistreich, Richard, 3141. Cambridge: Cambridge University Press, 2007.CrossRefGoogle Scholar
Chiapelli, Fredi. Studi sul linguaggio de Tasso epico. Florence: Le Monnier, 1957.Google Scholar
Coelho, Victor. ‘Marino’s Toccata between the Lutenist and the Nightingale’. In The Sense of Marino, edited by Guardiani, Francesco, 395427. New York: Legas, 1994.Google Scholar
Coluzzi, Seth. Guarini‘s ‘Il pastor fido’ and the Madrigal: Voicing the Pastoral in Late Renaissance Italy. Abingdon: Routledge, 2023.Google Scholar
Coluzzi, Seth   ‘Licks, Polemics, and the viola bastarda: Unity and Defiance in Monteverdi’s Fifth Book’. Early Music 47, no. 3 (2019): 333–44.Google Scholar
Conte, Giuseppe. ‘Retorica e logica nell’estetica barocca’. Sigma 7, no. 25 (1970): 5471.Google Scholar
Cropper, Elizabeth. ‘The Petrifying Art: Marino’s Poetry and Caravaggio’. Metropolitan Museum Journal 26 (1991): 193212.CrossRefGoogle Scholar
Cypess, Rebecca. Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy. Chicago: University of Chicago Press, 2016.Google Scholar
Dell’Antonio, Andrew. ‘“Particolar gusto e diletto alle orecchie”: Listening in the Early Seicento’. In Culture and Authority in the Baroque, edited by Ciavolella, Massimo and Coleman, Patrick, 106–21. Toronto: University of Toronto Press, 2005.Google Scholar
DeVos, Jessica. ‘The Intersexed Intertext: Du Bellay’s Appropriation of Bradamante’s Lyric Laments’. Modern Language Notes 129 (2014): 881901.Google Scholar
Doni, Giovanni Battista. Lyra Barberina. Bologna: Forni, 1974.Google Scholar
Donne, John. The Poems of John Donne. Edited by Grierson, Herbert J. C.. Oxford: Clarendon Press, 1912.Google Scholar
Ducos, Blaise. ‘Court Culture in France among the First Bourbons: “Portrait of Giambattista Marino” by Frans Pourbus the Younger’. Bulletin of the Detroit Institute of the Arts 83 (2009): 1221.CrossRefGoogle Scholar
Durante, Elio, and Martellotti, Anna. Don Angelo Grillo O.S.B. alias Livio Celiano: Poeta per musica del secolo decimosesto. Florence: S. P. E. S., 1989.Google Scholar
Einstein, Alfred. ‘Abbot Angelo Grillo’s Letters as Source Material for Music History’. In Essays on Music, edited by Lang, Paul Henry, 153–73. New York: W. W. Norton, 1956.Google Scholar
Einstein, Alfred   The Italian Madrigal. Princeton: Princeton University Press, 1949.Google Scholar
Einstein, Alfred   ‘Italian Madrigal Verse’. In Proceedings of the Musical Association, 63rd Session, 1936–37, translated by Arthur H. Fox Strangways and George D. H. Pidcock, 7995. Vaduz: Kraus Reprint, 1966.Google Scholar
Fabbri, Paolo. Monteverdi. Translated by Tim Carter. Cambridge: Cambridge University Press, 1994.Google Scholar
Fabbri, Paolo   ‘Teatralità “non apparente” de “L’Armida” di Francesco Eredi (1629)’. In Tasso, la musica, i musicisti, edited by Balsano, Maria Antonella and Walker, Thomas, 121–35. Florence: Olschki, 1988.Google Scholar
Fenlon, Iain. ‘Cardinal Scipione Gonzaga (1542–93): ‘“Quel padrone confidentissimo”’. Journal of the Royal Musical Association 113 (1988): 223–49.CrossRefGoogle Scholar
Fenlon, Iain   Giaches de Wert: Letters and Documents. Paris: Éditions Klincksieck, 1999.Google Scholar
Fenlon, Iain   ‘Music and Learning in Isabella d’Este’s Studioli’. In La corte di Mantova nell’età di Andrea Mantegna, 1450–1550, edited by Mozzarelli, Cesare, Oresko, Roberto, and Ventura, Leandro, 353–65. Rome: Bulzoni, 1997.Google Scholar
Ferrero, Giuseppe Guido, ed. Marino e i marinisti. Milan: Ricciardi, 1954.Google Scholar
Franceschetti, Antonio. ‘Il concetto di meraviglia nelle poetiche della prima Arcadia’. Lettere italiane 21, no. 1 (1969): 6288.Google Scholar
Frare, Pierantonio. ‘Antitesi, metafora e argutezza tra Marino e Tesauro’. In The Sense of Marino, edited by Guardiani, Francesco, 299322. Ottawa: Legas, 1994.Google Scholar
Frare, Pierantonio   Per istraforo di perspettiva: il Cannocchiale aristotelico e la poesia del Seicento. Pisa: Istituti editoriali e poligrafici internazionali, 2000.Google Scholar
Fry, Paul. The Reach of Criticism: Method and Perception in Literary Theory. New Haven, CT: Yale University Press, 1983.Google Scholar
Gazzara, Loredana. ‘Un’altra nota sul perduto ritratto di Giovan Battista Marino di mano del Caravaggio’. Confronto 6, no. 7 (2006): 7795.Google Scholar
Georis, Christophe. Claudio Monteverdi ‘letterato’ ou les metamorphoses du texte. Paris: Honoré Champion, 2013.Google Scholar
Getto, Giovanni. Il barocco letterario in Italia. Milan: Mondadori, 2000.Google Scholar
Giglio, Tommaso. Il secondo libro de madrigali a6. Venice: Giacomo Vincenti, 1601.Google Scholar
Grafton, Anthony. Cardano’s Cosmos. Cambridge, MA: Harvard University Press, 1999.Google Scholar
Gray, Erik. The Art of Love Poetry. Oxford: Oxford University Press, 2018.CrossRefGoogle Scholar
Greenblatt, Stephen. Marvelous Possessions. Chicago: University of Chicago Press, 1991.Google Scholar
Grillo, Angelo [alias Livio Celiano]. Delle lettere. Venice: Evangelista Deuchino, 1616.Google Scholar
Grillo, Angelo   Rime. Edited by Durante, Elio and Martellotti, Anna. Bari: Palomar, 1994.Google Scholar
Guardiani, Francesco. La meravigliosa retorica dell’ ‘Adone’ di G. B. Marino. Florence: Olschki, 1989.Google Scholar
Guarini, Alessandro. Varie compositioni raccolte in diverse materie (Ferrara: Vittorio Baldini, 1611).Google Scholar
Guarini, Battista. Il pastor fido. Venice: Gio. Battista Ciotti, 1602.Google Scholar
Guarini, Battista   Opere. Edited by Luigi, Fassò. Turin: Unione Tipografico-Editrice Torinese, 1950.Google Scholar
Guarini, Battista   Rime. Venice: G. B. Ciotti, 1598.Google Scholar
Hagstrum, Jean. The Sister Arts. Chicago: University of Chicago Press, 1958.Google Scholar
Hathaway, Baxter. The Age of Criticism. Ithaca: Cornell University Press, 1962.Google Scholar
Hathaway, Baxter   Marvels and Commonplaces: Renaissance Literary Criticism. New York: Random House, 1968.Google Scholar
Holzer, Robert. ‘“Ma invan la tento et impossibil parmi”, or How guerrieri Are Monteverdi’s Madrigali guerrieri?’ In The Sense of Marino, edited by Guardiani, Francesco, 429–50. New York: Legas, 1994.Google Scholar
Hutton, James. The Greek Anthology in Italy. Ithaca, NY: Cornell University Press, 1935.Google Scholar
Kirchman, Milton. Mannerism and Imagination. Salzburg: Universität Salzburg, 1979.Google Scholar
Kirkendale, Warren. ‘Circulatio – Tradition, and Josquin as Musical Orator’. Acta musicologia 56 (1984): 6992.CrossRefGoogle Scholar
Kristeller, Paul Oskar. Eight Philosophers of the Italian Renaissance. Stanford, CA: Stanford University Press, 1964.Google Scholar
Kurtzman, Jeffrey. ‘A Taxonomic and Affective Analysis of Monteverdi’s “Hor che ’l ciel e la terra”’. Music Analysis 12, no. 2 (1993): 169–95.Google Scholar
LeCoat, Gerard. The Rhetoric of the Arts, 1550–1650. Bern: Peter Lang, 1975.Google Scholar
Leichtentritt, Hugo. ‘Claudio Monteverdi als Madrigalkomponist’. Sammelbände der Internationalen Musikgesellshaft 11 (1910): 255–91.Google Scholar
Leopold, Silke. Monteverdi: Music in Transition. Translated by Anne Smith. Oxford: Clarendon Press, 1991.Google Scholar
LeVen, Pauline. ‘Echo and the Invention of the Lyric Listener’. In Textual Events: Performance in the Lyric of Early Greece, edited by Budelmann, Felix and Phillips, Tom, 213–34. Oxford: Oxford University Press, 2018.Google Scholar
Lewis, Clive Staples, and Tillyard, Eustace Mandeville Wetenhall. The Personal Heresy. New York: Oxford University Press, 1939.Google Scholar
Licino, Battista, ed. Rime di diversi celebri poeti dell’età nostra. Bergamo: Comino Ventura & Compagni, 1587.Google Scholar
Lipking, Lawrence. Abandoned Women and the Poetic Tradition. Chicago: University of Chicago Press, 1988.Google Scholar
Long, Megan Kaes. Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century. New York: Oxford University Press, 2020.Google Scholar
Longinus. On the Sublime. In Aristotle: Poetics, Longinus: On the Sublime, Demetrius: On Style. Translated by Stephen Halliwell, et al., Loeb Classical Library 199. Cambridge, MA: Harvard University Press, 1995.Google Scholar
Lucan, The Civil War. Translated by James Duff Duff, Loeb Classical Library 220. Cambridge, MA: Harvard University Press, 1928.Google Scholar
Luzzaschi, Luzzascho. Complete Unaccompanied Madrigals, Part 1. Edited by Newcomb, Anthony. Madison, WI: A-R Editions, 2003.Google Scholar
Mabbett, Margaret. ‘The Italian Madrigal: 1620–1655’. PhD diss., King’s College University of London, 1989.Google Scholar
MacClintock, Carol. Giaches de Wert, 1535–1596: Life and Works. N.p.: American Institute of Musicology, 1966.Google Scholar
Mace, Dean T.Tasso, La Gerusalemme liberata, and Monteverdi’. In Studies in the History of Music, vol. 1, Music and Language, 118–56. New York: Boude Brothers, 1983.Google Scholar
Magnaguti, Alessandro. ‘Il tipografo del Tasso: Messer Francesco Osanna’. Atti e memorie della Reale Accademia Virgiliana di Mantova 25 (1939): 157–68.Google Scholar
Marini, Maurizio. ‘Marino e Caravaggio: Un ritratto nel contesto della Contarelli’. In Caravaggio nel IV centenario della Cappella Contarelli, Atti del convegno internazionale di studi, Roma, 24–26 maggio 2001, edited by Antinori, Aloisio, 233–42. Rome: CAM, 2002.Google Scholar
Marino, Giambattista. L’Adone. Edited by Pieri, Marzio and Salvarani, Luana. Lavis: La Finestra, 2007.Google Scholar
Marino, Giambattista   Amori. Edited by Martini, Alessandro. Milan: Rizzoli, 1982.Google Scholar
Marino, Giambattista   Lettere. Edited by Guglielminetti, Marziano. Turin: Einaudi, 1966.Google Scholar
Marino, Giambattista   La lira (1614). Edited by Salvarani, Luana. Lavis: La Finestra, 2012.Google Scholar
Marino, Giambattista   La galeria. Edited by Pieri, Marzio and Ruffino, Alessandra. Lavis: La Finestra, 2005.Google Scholar
Marino, Giambattista   La strage de gli innocenti. Edited by Pozzi, Giovanni. Turin: Einaudi, 1960.Google Scholar
Marino, Giambattista   The Massacre of the Innocents. Translated by Erik Butler. Cambridge, MA: Wakefield Press, 2015.Google Scholar
Marino, Giambattista   La sampogna. Edited by Pieri, Marzio, Ruffino, Alessandra, and Salvarani, Luana. Lavis: La Finestra, 2005.Google Scholar
Marino, Giambattista, and Murtola, Gaspare. La Murtoleide, fischiate del Cavalier Marino, con La Marineide, risate del Murtola. Frankfurt: Giovanni Beyer, 1626.Google Scholar
Marsolo, Pietro Maria. Madrigali boscarecci a quattro voci. Venice: Giacomo Vincenti, 1607.Google Scholar
Martini, Alessandro. ‘Amore esce dal caos: l’organizzazione tematico-narrativa delle Rime amorose del Tasso’. Filologia e critica 9 (1984): 78121.Google Scholar
Martini, Alessandro   ‘Marino e il madrigale attorno al 1602’. In The Sense of Marino, edited by Guardiani, Francesco, 361693. Ottawa: Legas, 1994.Google Scholar
Mazzotta, Giuseppe. The Worlds of Petrarch. Durham, NC: Duke University Press, 1993.Google Scholar
McClary, Susan. Modal Subjectivities: Self-fashioning in the Italian Madrigal. Berkeley: University of California Press, 2004.Google Scholar
Migiel, Marilyn. ‘Tasso’s Erminia: Telling an Alternate Story’. Italica 64, no. 1 (1987): 6275.Google Scholar
Mirollo, James. ‘The Aesthetics of the Marvelous’. In Wonders, Marvels, and Monsters in Early Modern Culture, edited by Platt, Peter G., 2444. Newark: University of Delaware Press, 1999.Google Scholar
Mirollo, James   The Poet of the Marvelous. New York: Columbia University Press, 1963.Google Scholar
Molinari, Carla. Studi su Tasso. Florence: Società Editrice Fiorentina, 2007.Google Scholar
Monteverdi, Claudio. Complete Madrigals, Vol. 4. Edited by Bornstein, Andrea. Bologna: Ut Orpheus, 1998.Google Scholar
Monteverdi, Claudio   Lettere dediche e prefazioni. Edited by de’ Paoli, Domenico. Rome: De Santis, 1973.Google Scholar
Monteverdi, Claudio   The Letters of Claudio Monteverdi. Translated by Denis Stevens. Rev. ed. Oxford: Clarendon Press, 1995.Google Scholar
Monteverdi, Claudio   Madrigali a cinque voci libro secondo. Edited by Monterosso Vacchelli, Anna Maria. Cremona: Fondazione Claudio Monteverdi, 1979.Google Scholar
Monteverdi, Claudio   Madrigali a cinque voci libro terzo. Edited by Barezzani, Maria Teresa Rosa. Cremona: Fondazione Claudio Monteverdi, 1988.Google Scholar
Murata, Margaret. ‘Cantar ottave, cantar storie’. In Word, Image, and Song, vol. 1, edited by Cypess, Rebecca, Glixon, Beth L., and Link, Nathan, 287317. Rochester, NY: University of Rochester Press, 2013.Google Scholar
Murtaugh, Kristen Olsen. ‘Erminia Delivered: Notes on Tasso and Romance’. Quaderni d’italianistica 3, no. 1 (1982): 1225.Google Scholar
Nagy, Gregory. Poetry as Performance. Cambridge: Cambridge University Press, 1996.Google Scholar
Newcomb, Anthony. ‘The Ballata and the Free Madrigal in the Second Half of the Sixteenth Century’. Journal of the American Musicological Society 63, no. 3 (Fall 2010): 427–97.Google Scholar
Newman, Sara. ‘Aristotle’s Notion of “Bringing-Before-the-Eyes”: Its Contributions to Aristotelian and Contemporary Conceptualizations of Metaphor, Style, and Audience’. Rhetorica 20, no. 1 (2002): 123.Google Scholar
Noseda, Margherita. ‘Il bacio di carta: La parabola di un topos tra Rinascimento e Barocco’. In Thematologie des Kleinen, edited by Marsch, Edgar and Pozzi, Giovanni, 94130. Fribourg: Editions Universitaires, 1986.Google Scholar
Ossi, Massimo. ‘Between madrigale and altro genere di canto: Elements of Ambiguity in Claudio Monteverdi’s Setting of Battista Guarini’s Con che soavità’. In Guarini: la musica, i musicisti, edited by Pompilio, Angelo, 1329. Lucca: Libreria Musicale Italiana Editrice, 1997.Google Scholar
Ossi, Massimo   Divining the Oracle: Monteverdi’s ‘Seconda Prattica’. Chicago: University of Chicago Press, 2003.Google Scholar
Ossi, Massimo   ‘Pardon Me but Your Teeth Are in My Neck: Giambattista Marino, Claudio Monteverdi, and the bacio mordace’. Journal of Musicology 21, no. 2 (2004): 175200.Google Scholar
Ovid. The Metamorphoses. Translated by Michael Simpson. Amherst: University of Massachusetts Press, 2001.Google Scholar
Owens, Jessie Ann.Marenzio and Wert Read Tasso: A Study in Contrasting Aesthetics’. Early Music 27 (1999): 555–74.Google Scholar
Panofsky, Erwin. Galileo as a Critic of the Arts. The Hague: Martinus Nijhoff, 1954.Google Scholar
Patrizi, Francesco. Della poetica. Edited by Barbagli, Danilo Aguzzi. Florence: Istituto Palazzo Strozzi, 1969.Google Scholar
Paulicelli, Eugenia. ‘Parola e spazi visivi nella Galeria di Giovan Battista Marino’. In The Sense of Marino, edited by Guardiani, Francesco, 255–65. New York: Legas, 1994.Google Scholar
Perella, Nicolas. The Kiss Sacred and Profane. Berkeley: University of California Press, 1969.CrossRefGoogle Scholar
Petrarca, Francesco. The Canzoniere. Translated by Mark Musa. Bloomington: Indiana University Press, 1996.Google Scholar
Petronius. Satyricon. Translated by Michael Heseltine and William H. D. Rouse. Revised by Warmington, Eric H., Loeb Classical Library 15. Cambridge, MA: Harvard University Press, 1913.Google Scholar
Pigna, Giovan Battista. I romanzi. Venice: Valgrisi, 1554.Google Scholar
Pirrotta, Nino. ‘Scelte poetiche di Monteverdi’. Nuova rivista musicale italiana 2 (1968): 1042, 226–54; trans. as ‘Monteverdi’s Poetic Choices’. In Music and Culture in Italy from the Middle Ages to the Baroque, 271–316. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Pirrotta, Nino   ‘Monteverdi e i problemi dell’opera’. In Studi sul teatro veneto fra Rinascimento ed età barocco, edited by Muraro, Marina Teresa, 321–43. Florence: Olschki, 1971; trans. as ‘Monteverdi and the Problems of Opera’. In Music and Culture in Italy from the Middle Ages to the Baroque, 235–53. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Plato. The Collected Dialogues of Plato. Edited by Hamilton, Edith and Cairns, Huntington. Princeton, NJ: Princeton University Press, 1961.CrossRefGoogle Scholar
Plato   Euthyphro. Apology. Crito. Phaedo. Phaedrus. Translated by Harold North Fowler, Loeb Classical Library 36. Cambridge, MA: Harvard University Press, 1914.Google Scholar
Plato   Lysis. Symposium. Gorgias. Translated by William R. M. Lamb, Loeb Classical Library 166. Cambridge, MA: Harvard University Press, 1925.Google Scholar
Platt, Peter G. Reason Diminished: Shakespeare and the Marvelous. Lincoln: University of Nebraska Press, 1997.Google Scholar
Pontano, Giovanni Gioviano. On Married Love. Eridanus. Translated by Luke Roman, The I Tatti Renaissance Library 63. Cambridge, MA: Harvard University Press, 2014.Google Scholar
Portioli, Attilio. ‘Un episodio della vita di Torquato Tasso’. Archivio Veneto 19 (1880): 258–93.Google Scholar
Powers, Harold S.Monteverdi’s Model for a Multimodal Madrigal’. In In cantu et in sermone: For Nino Pirrotta on his 80th Birthday, edited by Seta, Fabrizio Della and Piperno, Franco, 185219. Florence: Olschki, 1989.Google Scholar
Powers, Harold S.   ‘Tonal Types and Modal Categories in Renaissance Polyphony’. Journal of the American Musicological Society 34, no. 3 (1981): 428–70.Google Scholar
Privitera, Massimo. ‘“Piagn’e sospira”: Forme della “seconda pratica” nel Quarto Libro di Monteverdi’. Il Saggiatore musicale 6 (1999): 3962.Google Scholar
Propertius. Elegies. Edited and translated by Goold, George Patrick, Loeb Classical Library 18. Cambridge, MA: Harvard University Press, 1990.Google Scholar
Quintilian. The Orator’s Education, Volume III: Books 6–8. Translated by Donald A. Russell, Loeb Classical Library 126. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Raimondi, Ezio. ‘Topologia della Gerusalemme liberata’. In Un teatro delle idee: Ragione e immaginazione dal Rinascimento al Romanticismo, edited by Monda, Davide, 17123. Milan: Rizzoli, 2011.Google Scholar
Refini, Eugenio. ‘Parole tronche et imperfette: The Lament as a “Mode” across Poetical and Musical Genres’. The Italianist 40, no. 3 (2020): 441–62.Google Scholar
Ricciardi, Emiliano. ‘The Musical Reception of Torquato Tasso’s Rime, 1571–1620’. PhD diss., Stanford University, 2013.Google Scholar
Rosand, Ellen. ‘The Descending Tetrachord: An Emblem of Lament’. Musical Quarterly 65, no. 3 (1979): 346–59.Google Scholar
Rosand, Ellen   Monteverdi’s Last Operas: A Venetian Trilogy. Berkeley: University of California Press, 2007.Google Scholar
Rosand, Ellen   ‘Monteverdi’s Mimetic Art: L’Incoronazione di Poppea’. Cambridge Opera Journal 1, no. 2 (1989): 113–37.Google Scholar
Rovelli, Carlo. The Order of Time. Translated by Erica Segre and Simon Carnell. New York: Riverhead Books, 2017.Google Scholar
Russo, Emilio. Marino. Rome: Salerno Editrice, 2008.Google Scholar
Sannazaro, Jacopo. Arcadia. Edited by Vecce, Carlo. Rome: Carocci Editore, 2015.Google Scholar
Sappho. Greek Lyric, vol. 1, Sappho and Alcaeus. Translated by David A. Campbell, Loeb Classical Library 142. Cambridge, MA: Harvard University Press, 1982.Google Scholar
Schizzerotto, Giancarlo. Rubens a Mantova. Mantua: Tipografia Grassi, 1979.Google Scholar
Schneider, Federico. ‘Rethinking Claudio Monteverdi’s Seventh Book of Madrigals (1619) via Giovan Battista Marino’s La lira (1614)’. Journal of Seventeenth-Century Music 24, no. 1 (2018).Google Scholar
Schneider, Federico   Unsuspected Competitive Contexts in Early Opera: Monteverdi’s Milanese Challenge to Florence’s Euridice (1600). Rome: Edizioni di storia e letteratura, 2016.Google Scholar
Schrade, Leo. Monteverdi: Creator of Modern Music. New York: W. W. Norton, 1950.Google Scholar
Schulze, Hendrik. ‘Drama, Not Epic: Il ritorno d’Ulisse in patria and the Aesthetic Discourse in Subsequent Librettos’. In Performing Homer: The Voyage from Epic to Opera, edited by Heller, Wendy and Stoppino, Eleonora, 6780. New York: Routledge, 2020.Google Scholar
Schwindt, Joel. Orpheus in the Academy: Monteverdi’s First Opera and the Accademia degli Invaghiti. New York: Routledge, 2022.Google Scholar
Segel, Harold D. The Baroque Poem. New York: Dutton, 1974.Google Scholar
Sidney, Philip. Defence of Poesie, Astrophil and Stella. Edited by Watson, Elizabeth Porges. London: Dent, 1997.Google Scholar
Sidney, Philip   The Poems of Sir Philip Sidney. Edited by Ringer, William A., Jr. Oxford: Clarendon Press, 1962.Google Scholar
Smith, Ayana O. Dreaming with Eyes Open: Opera, Aesthetics, and Perception in Arcadian Rome. Berkeley: University of California Press, 2019.Google Scholar
Snyder, Jon R.Art and Truth in Baroque Italy, or the Case of Emanuele Tesauro’s Il cannocchiale aristotelico’. Modern Language Notes 131, no. 3 (2016): 7496.Google Scholar
Sogliani, Daniela. ‘La Serenissima e il Ducato: Arte, diplomazia e mercato nel carteggio tra Venezia e Mantova (1613–1630)’. PhD diss., Università degli studi di Verona, 2017.Google Scholar
Sohm, Philip. Style in the Art Theory of Early Modern Italy. Cambridge: Cambridge University Press, 2001.Google Scholar
Solerti, Angelo. Gli albori del melodramma. Turin: Bocca, 1903; repr. Hildesheim: Georg Olms, 1969.Google Scholar
Sophocles. The Lover of Achilles. In Fragments, translated by Hugh Lloyd-Jones, 5863. Loeb Classical Library 483. Cambridge, MA: Harvard University Press, 1996.Google Scholar
Stras, Laurie. Women and Music in Sixteenth-Century Ferrara. Cambridge: Cambridge University Press, 2018.Google Scholar
Strunk, Oliver. Source Readings in Music History: The Baroque Era. New York: W. W. Norton, 1965.Google Scholar
Talentoni, Giovanni. Discorso in forma di lezzione… sopra la maraviglia. Milan: Paganello, 1597.Google Scholar
Targoff, Ramie. John Donne: Body and Soul. Chicago: University of Chicago Press, 2008.Google Scholar
Tasso, Torquato. Delle rime et prose del Sig. Torquato Tasso. Parte quarta. Venice: Giulio Vasalini, 1586.Google Scholar
Tasso, Torquato   Delle Rime … Parte quarta, e quinta. Genoa: Antonio Orero, 1586.Google Scholar
Tasso, Torquato   Dialoghi. Edited by Baffetti, Giovanni. Milan: Rizzoli, 1998.Google Scholar
Tasso, Torquato   Discorsi dell’arte poetica e del poema eroico. Edited by Poma, Luigi. Bari: Giuseppe Laterza & Figli, 1964.Google Scholar
Tasso, Torquato   Discourses on the Heroic Poem. Translated by Mariella Cavalchini and Irene Samuel. Oxford: Clarendon Press, 1973.Google Scholar
Tasso, Torquato   Jerusalem Delivered. Translated by Ralph Nash. Detroit: Wayne State University Press, 1987.Google Scholar
Tasso, Torquato   Gerusalemme liberata. Edited by Caretti, Lanfranco. Milan: Mondadori, 1999.Google Scholar
Tasso, Torquato   Gioie di rime … Quinta e sesta parte. Ferrara and Venice: Giulio Vasalini, 1587.Google Scholar
Tasso, Torquato   Il rimanente delle rime. Ferrara: Vittorio Baldini, 1587.Google Scholar
Tasso, Torquato   Le lettere di Torquato Tasso. Edited by Guasti, Cesare. Florence: Le Monnier, 1854.Google Scholar
Tasso, Torquato   Le rime di Torquato Tasso. Edited by Solerti, Angelo. Bologna: Romagnoli-Dall’Acqua, 1898.Google Scholar
Tasso, Torquato   The Liberation of Jerusalem. Translated by Max Wickert. Oxford: Oxford University Press, 2009.Google Scholar
Tasso, Torquato   Poemi minori di Tasso. Edited by Solerti, Angelo. Bologna: Zanichelli, 1891.Google Scholar
Tasso, Torquato   Rime del signor Torquato Tasso. Parte prima. Venice: Aldo Manuzio, 1581.Google Scholar
Tasso, Torquato   Rime … Parte prima. Mantua: Francesco Osanna, 1591.Google Scholar
Tasso, Torquato   Rime et prose del S. Torq. Tasso. Ferrara: Giulio Vasalini, 1589.Google Scholar
Tasso, Torquato   Rime et prose … Parte seconda. Ferrara: Giulio Vasalini, 1589.Google Scholar
Tasso, Torquato   Scritti sull’arte poetica. Edited by Mazzali, Ettore. Turin: Einaudi, 1977.Google Scholar
Tesauro, Emanuele. Il cannocchiale aristotelico. Turin: Zavatta, 1670.Google Scholar
Theocritus, Theocritus, Moschus, Bion. Translated by Neil Hopkinson, Loeb Classical Library 28. Cambridge, MA: Harvard University Press, 2015.Google Scholar
Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987.Google Scholar
Tomlinson, Gary   ‘Madrigal, Monody, and Monteverdi’s “via naturale alla immitatione”’. Journal of the American Musicological Society 43, no. 1 (1981): 60108.Google Scholar
Treadwell, Nina. Music and Wonder at the Medici Court. Bloomington: Indiana University Press, 2008.Google Scholar
Trudell, Scott A. Unwritten Poetry: Song, Performance, and Media in Early Modern England. Oxford: Oxford University Press, 2019.Google Scholar
Varallo, Franca. ‘Le feste alla corte di Carlo Emanuele I e G. B. Marino’. In Da Carlo Emanuele I a Vittorio Amedeo 2. Atti del convegno nazionale di studi: San Salvatore Monferrato, 20–21–22 settembre 1985, edited by Ioli, Giovanna, 159–66. Monferrato, San Salvatore Monferrato, 1987.Google Scholar
Vela, Maria Caraci. ‘Lamento polifonico e lamento monodico da camera all’inizio del Seicento’. In Seicento inesplorato, edited by Colzani, Alberto, Luppi, Andrea, and Padoan, Maurizio, 339–83. Como: Antiquae Musicae Italicae Studiosi, 1993.Google Scholar
Verso, Antonio Il. Il decimoquinto libro de’ madrigali a5. Palermo: Giovan Battista Maringo, 1619.Google Scholar
Verso, Antonio Il   Madrigali a tre e a cinque voci. Edited by Bianconi, Lorenzo. Florence: Olschki, 1978.Google Scholar
Virgil. Aeneid: Books 7–12. Appendix Vergiliana. Translated by Henry Rushton Fairclough. Revised by George Patrick Goold, Loeb Classical Library 64. Cambridge, MA: Harvard University Press, 1918.Google Scholar
Watkins, Glenn. ‘Sigismondo D’India and Marino: Strana armonia d’amore’. In The Sense of Marino, edited by Guardiani, Francesco, 487504. New York: Legas, 1994.Google Scholar
Watkins, Glenn, and Thomasin, La May.Imitatio and Emulatio: Changing Concepts of Originality in the Madrigals of Gesualdo and Claudio Monteverdi’. In Claudio Monteverdi: Festschrift Reinhold Hammerstein zum 70. Geburtstag, edited by Finscher, Ludwig, 453–87. Laaber: Laaber Verlag, 1986.Google Scholar
Weinberg, Bernard. A History of Literary Criticism in the Italian Renaissance. Chicago: University of Chicago Press, 1963.Google Scholar
Wethey, Harold E. The Paintings of Titian, vol. 1, The Religious Paintings. Phaidon: London, 1969.Google Scholar
Whenham, John. Duet and Dialogue in the Age of Monteverdi. Ann Arbor, MI: UMI Research Press, 1982.Google Scholar
Wistreich, Richard. ‘“La voce è grata assai, ma … ”: Monteverdi on Singing’. Early Music 22, no. 1 (1994): 719.Google Scholar
Wong, Alex. The Poetry of Kissing in Early Modern Europe. Cambridge: D. S. Brewer, 2017.Google Scholar
Yeats, William Butler. The Collected Poems of W.B. Yeats. Edited by Finneran, Richard J.. 2nd ed. New York: Scribner Paperback Poetry, 1996.Google Scholar
Zenaro, Giulio. Il primo libro de madrigali a3. Venice: Vincenti, 1589.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Roseen Giles, Duke University, North Carolina
  • Book: Monteverdi and the Marvellous
  • Online publication: 10 October 2023
  • Chapter DOI: https://doi.org/10.1017/9781009355384.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Roseen Giles, Duke University, North Carolina
  • Book: Monteverdi and the Marvellous
  • Online publication: 10 October 2023
  • Chapter DOI: https://doi.org/10.1017/9781009355384.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Roseen Giles, Duke University, North Carolina
  • Book: Monteverdi and the Marvellous
  • Online publication: 10 October 2023
  • Chapter DOI: https://doi.org/10.1017/9781009355384.008
Available formats
×