Constructions of gender in Monteverdi's dramatic music
One of the great accomplishments of seventeenth-century culture was the development of a vocabulary by means of which dramatic characters and actions could be delineated in music. The techniques for emotional and rhetorical inflection we now take for granted are not, in fact, natural or universal: they were deliberately formulated during this period for the purposes of music theatre. Monteverdi's descriptions of how he invented the semiotics of madness for La finta pazza Licori or of war for the Combattimento di Tancredi e Clorinda reveal how very self-consciously he designed methods for ‘representing’ affective states.
2017 ◽
1979 ◽
Vol 15
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pp. 117-173
2019 ◽
Vol 62
(12)
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pp. 4335-4350
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2012 ◽
Vol 26
(4)
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pp. 178-203
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2014 ◽
Vol 30
(3)
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pp. 231-237
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