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dc.contributor.advisorChamberlain, Bruce B.en_US
dc.contributor.authorGlass, Jr., Wayne Allen*
dc.creatorGlass, Jr., Wayne Allenen_US
dc.date.accessioned2011-12-06T14:11:28Z
dc.date.available2011-12-06T14:11:28Z
dc.date.issued2006en_US
dc.identifier.urihttp://hdl.handle.net/10150/195880
dc.description.abstractThe Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.
dc.language.isoENen_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.subjectmadrigal comedyen_US
dc.subjectchoral conductingen_US
dc.subjectBanchierien_US
dc.subjectcommedia dell'arteen_US
dc.titleThe Renaissance Italian Madrigal Comedy: A Handbook for Performanceen_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.contributor.chairChamberlain, Bruce B.en_US
dc.identifier.oclc659746472en_US
thesis.degree.grantorUniversity of Arizonaen_US
thesis.degree.leveldoctoralen_US
dc.contributor.committeememberBrobeck, Johnen_US
dc.contributor.committeememberKnott, Josefen_US
dc.identifier.proquest1906en_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.nameDMAen_US
refterms.dateFOA2018-08-25T11:47:36Z
html.description.abstractThe Italian madrigal comedy experienced a relatively short, but exceedingly popular life during the late Renaissance. The works that may be called madrigal comedies, numbering less than two dozen in total, represent a type of musical entertainment that delighted audiences at courts and within the cultural academies of Renaissance Italy. The small subset of works within the genre, designated in this research project as "theatrical" madrigal comedies, showed an increasing focus on dramatic representation of text with music. These works, the plots of which derive from the commedia dell'arte tradition, may be seen as early forms of musical comedy and musical theater. Arguments concerning the manner in which the works were performed have centered on a debate for and against the staging of them.Because madrigal comedies have been largely neglected as concert and theatrical literature, there is little published to assist a director in finding the repertoire or to offer a guide to performance. The research project on which this document is based, along with the associated lecture-recital, resulted in the compilation of means to a successful madrigal comedy production. This was done by advocating historically informed performance decisions that are given a practical spin. In this manner, a director may put together a madrigal comedy production that is accessible to professionals and non-professionals, as well as secondary- and higher-education communities.


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