VOLUME 9 (2003) NUMBER 1

In Armonia Favellare: Report of the International Conference on Early Opera and Monody to Commemorate the 400th Anniversary of the Italian Music Dramas of 1600, Held at the University of Illinois, Urbana-Champaign, October 5-8, 2000

A Special Issue Dedicated to the Memory of Claude V. Palisca

John Walter Hill, Editor

Table of Contents

JOHN WALTER HILL, Introduction

BARBARA RUSSANO HANNING, In memoriam Claude V. Palisca

Articles

• MAURO CALCAGNO (Harvard University), Monteverdi’s parole sceniche

• TIM CARTER (University of North Carolina), Rediscovering Il rapimento di Cefalo

• FRANCESCA CHIARELLI (Royal Holloway and Bedford New College, University of London), Before and After: Ottavio Rinuccini’s mascherate and their Relationship to the Operatic Libretto

• VICTOR COELHO (University of Calgary), The Players of Florentine Monody in Context and in History, and a Newly Recognized Source for Le nuove musiche

• BARBARA RUSSANO HANNING (The City College of New York, CUNY), The Ending of L’Orfeo: Father, Son, and Rinuccini

• KELLEY HARNESS (University of Minnesota), Le tre Euridici: Characterization and Allegory in the Euridici of Peri and Caccini

• JOHN WALTER HILL (University of Illinois, Urbana-Champaign), Beyond Isomorphism toward a Better Theory of Recitative

• ROBERT L. KENDRICK (University of Chicago), What’s So Sacred about Sacred Opera? Reflections on the Fate of a (Sub)Genre

• JEFFREY KURTZMAN (Washington University), Deconstructing Gender in Monteverdi’s L’Orfeo

• SILKE LEOPOLD (Universität Heidelberg), Die Anfänge von Oper und die Probleme der Gattung (The Beginnings of Opera and Problems of Genre)

• SARA MAMONE (Università degli Studi, Florence), Most Serene Brothers-Princes-Impresarios: Theater in Florence under the Management and Protection of Mattias, Giovancarlo, and Leopoldo de’ Medici

• ARNALDO MORELLI (Università della Calabria), The Chiesa Nuova in Rome about 1600: Music for the Church, Music for the Oratory

• MARGARET MURATA (University of California, Irvine), “Singing,” “Acting,” and “Dancing” in Vocal Chamber Music of the Early Seicento

• CLAUDE V. PALISCA (Yale University), Aria Types in the Earliest Operas

• LOUISE K. STEIN (University of Michigan), The Origins and Character of recitado

• JAMES TYLER (University of Southern California), The Role of the Guitar in the Rise of Monody: The Earliest Manuscripts

Communications

• A Note From the Editor of the Journal of Seventeenth-Century Music, Kerala J. Snyder.
  

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Copyright statement

Copyright © 2003 by the Board of Trustees of the University of Illinois. Except as otherwise provided, the author of each article in this issue has granted permission for paper or electronic copies of the textual and graphical portions of that article to be made for classroom use, provided that (1) copies are distributed at or below cost, (2) the author and the Journal are identified, (3) proper notice of copyright is attached to each copy, and (4) the Journal of Seventeenth-Century Music is notified of the use.

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