How to Cite

Springfeld, Sara: Modi di cantar sonetti: Italienische Sonettvertonungen bis ins 17. Jahrhundert, Heidelberg: heiBOOKS, 2018. https://doi.org/10.11588/heibooks.421

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Identifiers

https://doi.org/10.11588/heibooks.421
ISBN 978-3-946531-92-0 (PDF)
ISBN 978-3-946531-91-3 (Hardcover)
ISBN 978-3-946531-93-7 (Softcover)

Published

10/05/2018

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Authors

Sara Springfeld

Modi di cantar sonetti

Italienische Sonettvertonungen bis ins 17. Jahrhundert

The sonnet is considered one of the most enduring forms of European poetry. Throughout its almost 800-year history, it has not only challenged the artistic exploration and experimentation of poets, but also of composers. Whilst offering a range of creative possibilities for composers when setting a sonnet to music, they also faced problems when dealing with the asymmetrical stanza form of the text. This book concentrates on Italian sonnets from Francesco Petrarca to Giambattista Marino, which became popular text sources for the frottola, the madrigal and accompanied solo song in the sixteenth and seventeenth centuries.

Sara Springfeld holds a doctoral degree from the Musicology Department of the Ruprecht-Karls-Universität Heidelberg. Currently, she is a member of academic staff at the Musicology Department of the Eberhard-Karls- Universität Tübingen. Her research interests include the relationship between text form and musical form, especially in the field of Italian vocal music up to the seventeenth century and German song in the seventeenth, eighteenth and nineteenth centuries, as well as literary subjects in music history, and methods and techniques of musicology.

Chapters

Table of Contents
Pages
PDF
Titelei
Inhaltsverzeichnis
5-6
Danksagung
7
1 Einleitung
9-25
2 Das italienische Sonett. Metrische Struktur und literarische Entwicklung bis ins 17. Jahrhundert
27-50
3 Poesia senza musica? Das frühe italienische Sonett und sein Verhältnis zur Musik
51-63
4 Die ersten aufgezeichneten Sonettvertonungen im 15. Jahrhundert
65-81
5 Das Primat der Form. Musikalische Deklamationsmodelle für Sonette im 16. und 17. Jahrhundert
83-114
6 Syntax und Semantik. Das Durchkomponieren als alternative Strategie der Sonettvertonung im mehrstimmigen Madrigal des 16. Jahrhunderts
115-199
7 Formale Vielfalt und Synthesen. Sonettvertonungen nach 1600
201-233
8 Das Verschwinden des Sonetts aus der Musik des 17. Jahrhunderts
235-258
9 Schluss
259-262
10 Anhang: Transkriptionen
263-288
11 Quellen- und Literaturverzeichnis
289-311

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