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WorldCat.org

<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of Illustrations</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>ix</TD><TD></TD></TR><TR><TD>Preface</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiii</TD><TD></TD></TR><TR><TD>Prologue: Divining the Oracle</TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(26)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Public Debate, I: Prima and Seconda Prattica</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>27</TD><TD VALIGN=TOP>(31)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Artusi Texts</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>32</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Senses, Reason, and Musical Aesthetics</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>36</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Toward a New Conception of the Madrigal Book: Aspects of Large-scale Organization in the Fourth and Fifth Books</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>58</TD><TD VALIGN=TOP>(53)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Narrative and Form in the Continuo Madrigals</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>59</TD><TD VALIGN=TOP>(24)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Narrative in the A Cappella Madrigals</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>83</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Fourth Book of Madrigals: Organization</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>96</TD><TD VALIGN=TOP>(15)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Canzonetta</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>111</TD><TD VALIGN=TOP>(38)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Three Analyses</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>119</TD><TD VALIGN=TOP>(15)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>Monteverdi's Other Canzonettas</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>134</TD><TD VALIGN=TOP>(7)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The Canzonetta as Symbol and Formal Module</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>141</TD><TD VALIGN=TOP>(8)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Blurring of Genres in Individual Madrigals</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>149</TD><TD VALIGN=TOP>(40)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>``Con che soavita''</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>153</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>The ``Lamento della ninfa''</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>173</TD><TD VALIGN=TOP>(11)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=60></TD><TD>``Gloria a 7 concertata''</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>184</TD><TD VALIGN=TOP>(5)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Public Debate, II: The Philosopher's Seconda Prattica</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>189</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The Genere Concitato</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>211</TD><TD VALIGN=TOP>(32)</TD></TR><TR><TD>Epilogue</TD><TD WIDTH=40></TD><TD VALIGN=TOP>243</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD>Appendix of Original Texts</TD><TD WIDTH=40></TD><TD VALIGN=TOP>255</TD><TD VALIGN=TOP>(10)</TD></TR><TR><TD>Bibliography</TD><TD WIDTH=40></TD><TD VALIGN=TOP>265</TD><TD VALIGN=TOP>(8)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>273</TD><TD></TD></TR></TABLE>

"In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner."

Divining the oracle : Monteverdi's seconda prattica