“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Per Musi |
Texto Completo: | https://periodicos.ufmg.br/index.php/permusi/article/view/5220 |
Resumo: | Giambattista Marino's (1569-1625) poems were set to music by many composers during the first half of the 17th century. His epigrammatic style, using witty jokes, rhetorical devices, erotic conceits and various kinds of baroque ornaments, was both imitated and criticized in his own time, later underestimated and condemned as a period of decline in the history of Italian poetry. More recently, literary historians have reassessed his status, but musicians and musicologists have been slow in following their example. Poems are made intensely "pathetic", by means of sudden changes, unexpected metaphors, complex and uncommon rhetorical figures. Composers at the beginning of the 17th century were looking exactly for that: to reduce the whole madrigal (or other vocal genres) into a few concise textual-musical ideas (using the technique of contrast, like painters were doing with the chiaroscuro), fitting the ideal of expressing affetti and producing meraviglia. To which extent did composers accept and exploit this new language and what does it imply? What are the changes in their choices in the transition from the canonical madrigal towards the modern monody? How is the original potential of the poem conveyed or dispersed when it is set to music? These questions will be the central issues of this paper. |
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“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms“A Quest’olmo, a quest’ombre et a quest'onde": um mergulho em maneirismos musicaisMarinismMarino and musicitalian poetryepigrammatic styleMarino e músicamarinismopoesia italianaestilo epigramáticoGiambattista Marino's (1569-1625) poems were set to music by many composers during the first half of the 17th century. His epigrammatic style, using witty jokes, rhetorical devices, erotic conceits and various kinds of baroque ornaments, was both imitated and criticized in his own time, later underestimated and condemned as a period of decline in the history of Italian poetry. More recently, literary historians have reassessed his status, but musicians and musicologists have been slow in following their example. Poems are made intensely "pathetic", by means of sudden changes, unexpected metaphors, complex and uncommon rhetorical figures. Composers at the beginning of the 17th century were looking exactly for that: to reduce the whole madrigal (or other vocal genres) into a few concise textual-musical ideas (using the technique of contrast, like painters were doing with the chiaroscuro), fitting the ideal of expressing affetti and producing meraviglia. To which extent did composers accept and exploit this new language and what does it imply? What are the changes in their choices in the transition from the canonical madrigal towards the modern monody? How is the original potential of the poem conveyed or dispersed when it is set to music? These questions will be the central issues of this paper.Os poemas de Giambattista Marino (1569-1625) foram musicados por muitos compositores durante a primeira metade do século XVII. O estilo epigramático de Marino, usando piadas espirituosas, artifícios retóricos, conceitos eróticos e vários tipos de ornamentos barrocos, foi tanto imitado quanto criticado na sua época, depois subestimado e condenado como um período de declínio na história da poesia italiana. Mais recentemente, os historiadores literários têm reavaliado seu status, mas os músicos e musicólogos têm sido lentos em seguir seu exemplo. Os poemas são feitos intensamente "patéticos", por meio de mudanças bruscas, metáforas inesperadas, complexas e figuras retóricas incomuns. Compositores, no início do século 17 estavam procurando exatamente isso: reduzir todo o madrigal (ou outros gêneros vocais) em algumas ideias textuais-musical concisas (utilizando a técnica de contraste, como pintores estavam fazendo com o claro-escuro), cabendo o ideal de expressar affetti e produzindo meraviglia. Até que ponto os compositores aceitam explorar esta nova linguagem e o que isso implica? Quais são as mudanças em suas escolhas na transição do madrigal canônico para o monodia moderna? Como o potencial original do poema é transmitido ou dispersado quando musicado? Estas questões serão os temas centrais deste trabalho.Universidade Federal de Minas Gerais (UFMG)2017-08-09info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersiontextoinfo:eu-repo/semantics/otherapplication/pdfhttps://periodicos.ufmg.br/index.php/permusi/article/view/5220Per Musi; No. 36 (2017): Early MusicPer Musi; Núm. 36 (2017): Early MusicPer Musi; n. 36 (2017): Early Music2317-63771517-7599reponame:Per Musiinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGenghttps://periodicos.ufmg.br/index.php/permusi/article/view/5220/3243Cipollone, Barbarainfo:eu-repo/semantics/openAccess2019-08-11T12:56:23Zoai:periodicos.ufmg.br:article/5220Revistahttp://www.scielo.br/revistas/pm/iaboutj.htmPUBhttps://old.scielo.br/oai/scielo-oai.phpantoniom@fgvnf.br||permusi@ufmg.br2317-63771517-7599opendoar:2019-08-11T12:56:23Per Musi - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms “A Quest’olmo, a quest’ombre et a quest'onde": um mergulho em maneirismos musicais |
title |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
spellingShingle |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms Cipollone, Barbara Marinism Marino and music italian poetry epigrammatic style Marino e música marinismo poesia italiana estilo epigramático |
title_short |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
title_full |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
title_fullStr |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
title_full_unstemmed |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
title_sort |
“A Quest’olmo, a quest’ombre et a quest’onde”: Swimming in Musical Marinisms |
author |
Cipollone, Barbara |
author_facet |
Cipollone, Barbara |
author_role |
author |
dc.contributor.author.fl_str_mv |
Cipollone, Barbara |
dc.subject.por.fl_str_mv |
Marinism Marino and music italian poetry epigrammatic style Marino e música marinismo poesia italiana estilo epigramático |
topic |
Marinism Marino and music italian poetry epigrammatic style Marino e música marinismo poesia italiana estilo epigramático |
description |
Giambattista Marino's (1569-1625) poems were set to music by many composers during the first half of the 17th century. His epigrammatic style, using witty jokes, rhetorical devices, erotic conceits and various kinds of baroque ornaments, was both imitated and criticized in his own time, later underestimated and condemned as a period of decline in the history of Italian poetry. More recently, literary historians have reassessed his status, but musicians and musicologists have been slow in following their example. Poems are made intensely "pathetic", by means of sudden changes, unexpected metaphors, complex and uncommon rhetorical figures. Composers at the beginning of the 17th century were looking exactly for that: to reduce the whole madrigal (or other vocal genres) into a few concise textual-musical ideas (using the technique of contrast, like painters were doing with the chiaroscuro), fitting the ideal of expressing affetti and producing meraviglia. To which extent did composers accept and exploit this new language and what does it imply? What are the changes in their choices in the transition from the canonical madrigal towards the modern monody? How is the original potential of the poem conveyed or dispersed when it is set to music? These questions will be the central issues of this paper. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-08-09 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion texto info:eu-repo/semantics/other |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5220 |
url |
https://periodicos.ufmg.br/index.php/permusi/article/view/5220 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://periodicos.ufmg.br/index.php/permusi/article/view/5220/3243 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais (UFMG) |
dc.source.none.fl_str_mv |
Per Musi; No. 36 (2017): Early Music Per Musi; Núm. 36 (2017): Early Music Per Musi; n. 36 (2017): Early Music 2317-6377 1517-7599 reponame:Per Musi instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Per Musi |
collection |
Per Musi |
repository.name.fl_str_mv |
Per Musi - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
antoniom@fgvnf.br||permusi@ufmg.br |
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1799711235637248000 |