The madrigal in Rome: music in the papal orbit, 1520-1555 Public Deposited

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  • March 22, 2019
  • Glozer, Letitia
    • Affiliation: College of Arts and Sciences, Department of Music
  • Cinquecento Rome was a city like no other, with her central papal court and the many mini-courts of Cardinals and wealthy families; the decentralized structure of competing households radiating out from the papal court offered numerous venues for the creation and performance of secular music. This dissertation offers a series of case studies of the Italian madrigal as practiced in the city to the early 1550s. The madrigal, often treated as a genre of Florentine origin, has deep roots in Rome, a result of the tight bond that united the cities during the Medici papacies. Chapter One establishes the state of secular music in the years before and early on in the madrigal's development. It was during this period that Verdelot arrived in Florence and, after the Sack of Rome, the Madrigali … libro primo de la Serena, the first print to use the word "madrigal" in its title, was published in Rome. Chapters Two and Three center on the papal court of Paul III, during whose reign Costanzo Festa and Jacques Arcadelt both served in the Cappella Sistina. Arcadelt's Quarto libro di madrigali, 153924, which includes pieces by the papal singers Festa, Morales, Yvo Barry, and Leonardo Barrè, marks the adoption of the Florentine idiom by composers with no known association to the city and suggests the extent to which the genre would soon dominate Italian secular composition. Chapter Four demonstrates the breadth of Roman music with a case study of Jacques du Pont's Cinquanta Stanze del Bembo; this large-scale work, by a Frenchman who was employed not within the papal court but by the wealthy Florentine Cardinal Giovanni Salviati, sets an early Carnival text by the Venetian scholar Pietro Bembo. Chapter Five presents the development of distinctly Roman repertories in circles independent of papal or cardinalate patronage. Hubert Naich's Exercitium seraficium, the black note anthologies, and the arioso madrigal prints of Antonio Barrè, who published his own works alongside those by composers such as Lasso, Palestrina, Lupacchino, and several composers from or active in Naples, all speak to the diversity of the Roman madrigal by mid-century.
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  • Nádas, John Louis
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  • University of North Carolina at Chapel Hill
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