MONTEVERDI, CLAUDIO, 1567-1643

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This is an unedited extract from my bibliographical database; it is not complete, and many items are obviously not directly relevant to Monteverdi, but it is offered for what it is worth.

1. Abert, Anna Amalie, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel, 1954
   
2. ---, "Tasso, Guarini e l'opera", Nuova rivista musicale italiana 4/5 (1970), 827-840
   
3. ---, Claudio Monteverdis Bedeutung für die Entstehung des musikalischen Dramas, Erträge der Forschung 107, Darmstadt: Wissenschaftliche Buchgesellschaft [Abt. Verl.], 1979
   
4. Adams, K.Gary and Dyke Kiel, Claudio Monteverdi: A Guide to Research, Garland Reference Library of the Humanities 792, New York: Garland, 1989
   
5. Aerde, Raymond Joseph Justin van, Notice sur la vie & les oeuvres de Cyprien de Rore, illustre musicien malinois du XVIme siècle, Malines: L. & A. Godenne, 1909
   
6. Aldrich, Putman, The Rhythm of Seventeenth-Century Italian Monody, New York: W.W. Norton, 1966
   
7. Allacci, Leone, Drammaturgia di Leone Allacci divisa in sette indici, 1st ed., Rome: Per il Mascardi, 1666
   
8. ---, Drammaturgia di Lione Allacci accresciuta e continuata fino all'anno MDCCLV, 2nd ed., Venice: Giambattista Pasquali, 1755
   
9. Alm, Irene, "L'Arte della Danza ai Tempi di Claudio Monteverdi", Dance Research Journal 26/1 (1994) (Spring), 44
   
10. Ambros, August Wilhelm, Zur Lehre vom Quinten-Verbote: Eine Studie, Leipzig: Heinrich Matthes, [1859]
    
11. Anderle, Jirí and Harry Halbreich, Ricercari : in omaggio al sig. Claudio Monteverdi / Anderle ... [et al.], n.p.: n.p., 1972?
    
12. Anfuso, Nella, Claudio Monteverdi, Orfeo: exempla di semeiografia ed armonia nell'edizione del 1609; lezione proposta da N. Anfuso; realizzazione di Vito Frazzi; testo di A. Gianuario, Florence: OTOS, c1972
    
13. Anfuso, Nella and Annibale Gianuario, Lamento d'Arianna [di] Claudio Monteverdi: studio e interpretazione ... sulla edizione a stampa del Gardano, Venezia, 1623, Florence: OTOS, [c1969]
    
14. ---, Modalità e realtà fonetica nel Lamento d'Arianna di Claudio Monteverdi, Nuova metodologia 1, Florence: OTOS, [per il] Centro Studi Rinascimento Musicale, [1970]
    
15. ---, Preparazione alla interpretazione della Poiesis monteverdiana, Florence: OTOS, [per il] Centro studi Rinascimento musicale, 1971
    
16. ---, Le tre Arianne di Claudio Monteverdi, Nuova metodologia 5, Florence: Centro studi Rinascimento musicale, 1975
    
17. ---, Amenita pseudomusicologiche del Sig. Adriano Cavicchi, Florence: Centro Studi Rinascimento Musicale, 1975
    
18. Anon., Claudio Monteverdi, Florence: Sansoni, 1943
    
19. ---, Ifigenia di I. Pizzetti. Tirsi e Clori di C. Monteverdi e A. Milloss, [Florence]: [Maggio musicale fiorentino XIV, 1951], [1951]
    
20. ---, Italienische Musiker und das Kaiserhaus, 1567-1625; Dedikationsstücke und Werke von Musikern im Dienste des Kaiserhauses. Madrigale von Filippo di Monte, Francesco Portinaro, Andrea Gabrieli, Annibale Padoano, Denkmäler der Tonkunst in Österreich 77, Graz: Akademische Druck- u. Verlagsanstalt, 1960 [1934]
    
21. ---, Baroque opera at Smith College, 1926-1931; record of a pioneer venture in music: Monteverdi and Handel operas as performed under the direction of Werner Josten, New York, 1966
    
22. ---, Dedicado a Claudio Monteverdi, Ars; revista de arte A¤o 26, no. 102, Buenos Aires, 1966
    
23. ---, Scritti in onore di Luigi Ronga, Milan and Naples: R. Ricciardi, 1973
    
24. ---, L'Orfeo: Monteverdi, L'Avant-scène Opéra 5, Paris: Editions de l'Avant-scène, 1976
    
25. ---, ed., Music and Language, Studies in the History of Music (New York, NY) 1, New York: Broude Bros., 1983
    
26. ---, Monteverdi, le couronnement de Poppée, L'Avant-scène Opéra 115, Paris: L'Avant-scène, 1988
    
27. ---, The operas of Monteverdi, Opera Guide 45, London/ New York: Calder Publications/ Riverrun Press, 1992
    
28. ---, Claudio Monteverdi, vom Madrigal zur Monodie, Musik-Konzepte 83-84, Munich: Edition Text + Kritik, 1994
    
29. ---, Le retour d'Ulysse, Monteverdi, L'Avant-scène opéra 159, Paris: Editions Premieres loges, [1994]
    
30. Arnold, Denis, "Giovanni Croce and the Concertato Style", Musical Quarterly 39 (1953), 37-48
    
31. ---, Monteverdi, The Master Musicians, London / New York: J.M. Dent / Farrar, Straus and Cudahy, 1963
    
32. ---, Marenzio, London: Oxford University Press, 1965
    
33. ---, Monteverdi Madrigals, BBC Music Guides, London: British Broadcasting Corporation, 1967
    
34. ---, "Formal Designs in Monteverdi's Music", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, edited by Raffaello Monterosso, 187-216, Verona: Stamperia Valdonega, 1969
    
35. ---, Monteverdi, The Master Musicians, 2nd ed., London: Dent, 1975
    
36. ---, "Villanella", The New Grove Dictionary of Music & Musicians, edited by Stanley Sadie, vol. 19, 770-773, 6th ed., London: Macmillan, 1980
    
37. ---, Monteverdi Church Music, BBC Music Guides, London: British Broadcasting Corporation, 1982
    
38. ---, "Monteverdi: Some Colleagues and Pupils", The New Monteverdi Companion, edited by Denis Arnold and Nigel Fortune, 121, London: Faber & Faber, 1985
    
39. ---, "Monteverdi and his Teachers", The New Monteverdi Companion, edited by Denis Arnold and Nigel Fortune, 97, London: Faber, 1985
    
40. ---, Monteverdi, The Master Musicians, 3rd ed., London: Dent, 1990
    
41. Arnold, Denis et al., The New Grove Italian Baroque Masters: Monteverdi, Frescobaldi, Cavalli, Corelli, A. Scarlatti, Vivaldi, D. Scarlatti, The New Grove Composer Biography Series, London/ New York: Macmillan/ W.W. Norton, 1984
    
42. Arnold, Denis and Nigel Fortune, eds., The Monteverdi Companion, 1st ed., New York: W.W. Norton, 1968
    
43. ---, eds., The New Monteverdi Companion, London: Faber, 1985
    
44. Arnold, F.T., The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth and XVIIIth Centuries, Vol. 1-2, London: Oxford University Press, 1931
    
45. Artusi, Giovanni Maria, L'Artusi, overo Delle imperfettioni della moderna musica, Venice: Vincenti, 1600
    
46. ---, Seconda parte dell'Artusi, overo Delle imperfettioni della moderna musica, Venice: Vincenti, 1603
    
47. ---, Discorso secondo musicale di Antonio Braccino [pseud.] da Todi. Per la Dichiaratione della lettera posta ne' Scherzi musicali del sig. Claudio Monteverde, Venice: G. Vincenti, 1608
    
48. Assenza, Concetta, Giovan Ferretti tra canzonetta e madrigale, Florence: Leo Olschki, 1989
    
49. Atcherson, Walter T., "Key and Mode in Seventeenth-Century Music Theory Books", Journal of Music Theory 17.2 (1973) (Fall), 204-232
    
50. Bacchelli, Riccardo, Monteverdiana ... Per le celebrazioni centenarie in Mantova, 1967, Mantua: Istituto Carlo D'Arco; Ente provinciale per il turismo, 1967
    
51. ---, Rossini e saggi musicali: Verdi, Beethoven, Monteverdi, Tutte le opere 16, Milan: Mondadori, 1968
    
52. Baini, Giuseppe, Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, cappellano cantore, e quindi compositore della Cappella Pontificia, Maestro di Cappella delle Basiliche Vaticana, Lateranense, e Liberiana, detto Il Principe della Musica, Vol. 1-2, Rome: Dalla Societa Tipografica, 1828
    
53. Ballard, William Joseph, The Sources, Development and Culmination of the Dramatic Madrigal, Ph.D. Dissertation, 1957
    
54. Balsano, Maria Antonella, L'Ariosto, la musica, i musicisti: quattro studi e sette madrigali ariosteschi ... con una premessa di Lorenzo Bianconi, Quaderni della Rivista italiana di musicologia 5, Florence: L. S. Olschki, 1981
    
55. Balsano, Maria Antonella and Thomas Walker, Tasso, la musica, i musicisti, Quaderni della Rivista italiana di musicologia 19, Florence: Leo S. Olschki, 1988
    
56. Banchieri, Adriano, L'organo suonarino, Venice: A. Vincenti, 1605, 1611, 1638
    
57. ---, Conclusioni nel suono dell'organo, Bologna: Giovanni Rossi, 1609
    
58. ---, Cartella musicale, 3rd ed., Venice, 1614
    
59. ---, Organo svonarino del p. d. Adriano Banchieri ... In questa quarta impressione accordato con ogni diligenza e diuiso in cinque registri, libro vtilissimo a qual si voglia organista per alternare in voce chorista, alli canti-fermi di tutto l'anno nelle chiesi secolari, regolari, monache, e confraternita a secondo l'vso di santa madre chiesa. Et nel fine dopo la tauola generale di tutta l'opera aggiuntoui il sesto registro ... Opera XXXXIII, 4th ed., Venice: A. Vincenti, 1638
    
60. Barbieri, P., "`Chiavette' and Modal Transposition in Italian Practice (c. 1500-1837)", Recercare 3 (1991), 1-79
    
61. Barblan, Guglielmo, Claudio Gallico and Guido Pannain, Claudio Monteverdi nel quarto centenario della nascita, Turin: Edizioni RAI Radiotelevisione italiana, [1967]
    
62. Barclay, William Jesse, A comparison of available editions of the Vespers of 1610 [by] Claudio Monteverdi, D.M.A. Term project, Stanford University, [1963?]
    
63. Barner, W., Barockrhetorik: Untersuchungen zu ihren geschichtlichen Grundlagen, Tübingen: Max Niemeyer Verlag, 1970
    
64. Baroffio, G.B., "[Philological Performances (Background to the Celebration of a Mass in Cremona Cathedral Commemorating the 350th Anniversary of the Death of Monteverdi)]", Nuova rivista musicale italiana 27/2 (1994), 221-226
    
65. Barucco, Pierre, Le manierisme italien, Que sais-je? 1897, 1st ed., Paris: Presses universitaires de France, 1981
    
66. Battisti, Eugenio, Hochrenaissance und Manierismus, Kunst der Welt, Baden-Baden: Holle Verlag, 1970
    
67. Bauer, Marion, Miscellaneous papers, PHYSICAL DETAILS: 5 linear in. (1 box); CALL NUMBER: MC 3; LOCATION: New York University Archives, Elmer Holmes Bobst Library, 70 Washington Square South, New York, NY 10012. -- NOTES: Topical. -- Marion Eugenie Bauer was a composer, writer, critic, editor, and professor of music. She was born in Walla Walla, Washington on August 15, 1887. Bauer received an honorary Master of Arts degree from Whitman College in 1932 and an honorary Doctor of Music from the New York College of Music in 1951. She became the first woman faculty member of the Music Department at New York University in 1926 and remained at the University until 1951. Marion Bauer died on August 9, 1955. -- SUMMARY: The papers consist of unpublished manuscripts of Bauer's proposed books, articles, and speeches. Some published material and biographical information is included. -- NOTES: Gift of Frederic Stoessel, 1976 and Harrison Potter, 1982. -- INDEXES: Unpublished guide available (folder level control). -- SUBJECTS: Beethoven, Ludwig van, 1770-1827; Brahms, Johannes, 1833-1897; Liszt, Franz, 1811-1886; Monteverdi, Claudio, 1567-1643; Schumann, Robert, 1810-1856; Wagner, Richard, 1813-1833 (1936-1951)
    
68. Baumgart, Fritz Erwin, Renaissance und Kunst des Manierismus, DuMont Dokumente, ser. 1: Kunstgeschichte, Deutung, Dokumente, Cologne: DuMont Schauberg, c1963
    
69. Beach, David W., ed., Aspects of Schenkerian Theory, New Haven and London: Yale University Press, 1983
    
70. Beaudoin, Russell Martin, The Seconda pratica of Claudio Monteverdi as used in his Quinto libro de madrigali a cinque voci (1605), M.M. Thesis, Michigan State University, 1984
    
71. Bebbington, Warren A. and Royston Gustavson, eds., Sound and Reason: Music and Essays in Honour of Gordon D. Spearritt, St Lucia, Queensland: Faculty of Music, University of Queensland, 1992
    
72. Benincasa, Carmine, Sul manierismo come dentro a uno specchio, Rome: Officina, 1979
    
73. Benjamin, Walter, The Origin of German Tragic Drama, London: New Left Books, 1977
    
74. Benvenuti, Giacomo, ed., L'incoronazione di Poppea: facsimile del manoscritto It. Cl. 4. n. 439 della Biblioteca nazionale di S. Marco in Venezia/ Claudio Monteverdi, Milan: Fratelli Bocca, 1938
    
75. Berardi, Angelo, Miscellanea musicale, Bologna, 1689
    
76. ---, Il perche mvsicale, overo Staffetta armonica, nella quale la ragione scioglie le difficolta, e gli esempi dimostrano il modo d'isfuggire gli errori, e di tessere con artificio i componimenti musicali; opera del canonico D. Angelo Berardi, Bologna: P.M. Monti, 1693
    
77. Berger, Karol, Theories of Chromatic and Enharmonic Music in Late 16th- Century Italy, Ann Arbor: UMI Research Press, 1980
    
78. Bergqvist, Ulf, Monteverdi: en dikt, Stockholm: Rabin & Sjögren, 1979
    
79. Bettley, John, "Monteverdi's Mass of Thanksgiving revisited", Early Music 22/1 (1994), 45
    
80. Bianconi, Lorenzo, "Giulio Caccini e il manierismo musicale", Chigiana 25 (1968), 12-38
    
81. ---, "Struttura poetica e struttura musicale nei madrigali di Monteverdi", Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e comunicazioni... Venezia-Mantova-Cremona, 3-7 maggio 1968, edited by Raffaello Monterosso, 335-348, Verona: Stamperia Valdoneza, 1969
    
82. ---, "The Caccinian Workshop of Pietro Maria Marsolo", P.M. Marsolo, Madrigali quattro voci, edited by Lorenzo Bianconi, ix-lviii, Musiche rinascimentali siciliani 4, Rome, 1973
    
83. ---, "`Ah dolente partita': espressione ed artificio", Studi musicali 3 (1974), [105]-130
    
84. ---, ed., Antonio il Verso, Madrigali a tre (libro II, 1605) e a cinque voci (libro XV, opera XXXVI, 1619) con sei madrigali di Pomponio Nenna, Tiburtio Massaino, Ippolito Baccusi e Giovan Battista Bartoli, Florence: Olschki, 1978
    
85. ---, Music in the Seventeenth Century, Cambridge: Cambridge University Press, 1987
    
86. Blazey, David, "A liturgical role for Monteverdi's Sonata sopra Sancta Maria", Early Music 18/2 (1989), 175
    
87. Bode, Robert H., Il primo libro de madrigali by Heinrich Schütz, Ph.D. Dissertation, 1987
    
88. Bokina, John, "Deity, Beast, and Tyrant: Images of the Prince in the Operas of Monteverdi", Revue internationale de science politique 12/1 (1991), 48
    
89. Bonito Oliva, Achille, L'ideologia del traditore: arte, maniera, manierismo, I Fatti e le idee: Critica d'arte 329, 1st ed., Milan: Feltrinelli, 1976
    
90. Bonomo, Gabriele, , Ph.D. Dissertation, University of Pavia, 1987
    
91. ---, "[Monteverdi, Giulio Cesare, and Hymns contained in `Delli Affetti Musici']", Rivista italiana di musicologia 27/1-2 (1992), 41-101
    
92. Bononcini, Giovanni Maria, Musico prattico/ che brevemente dimostra/ il modo di giungere alla perfetta cognizione di tutte quelle cose, che concorrono alla composizione de i Canti, e di ci•/ ch'all'arte del contrapunto si ricerca, Bologna: Giacomo Monti, 1688
    
93. Bonta, Stephen, "Liturgical Problems in Monteverdi's Marian Vespers", Journal of the American Musicological Society 20 (1967), 87-106
    
94. Bowers, Roger, "Notation and Proportions in Monteverdi's Mass and Vespers of 1610 [Letter in reply to Jeffrey Kurtzman]", Music & Letters 75/1 (1994), 149-154
    
95. Boyden, David, "Monteverdi's `Violini piccoli alla francese' and `viole da brazzo'", Annales musicologiques 6 (1958-63), 387-401
    
96. Branca, Vittore and Carlo Ossola, eds., Cultura e società nel Rinascimento tra riforme e manierismi, Civiltà veneziana: Saggi 32, Florence: L.S. Olschki, 1984
    
97. ---, eds., Crisi e rinnovamenti nell'autunno del Rinascimento a Venezia, Civiltà veneziana: Saggi 38, Florence: L.S. Olschki, 1991
    
98. Brett, Philip, Elizabeth Wood and Gary C. Thomas, eds., Queering the Pitch: The New Gay and Lesbian Musicology, New York: Routledge, 1994
    
99. Brett, Ursula, Music and Ideas in Seventeenth-Century Italy: The Cazzati- Arresti Polemic, Ph.D. Dissertation, University of London, 1986
    
100. Briganti, Giuliano, Italian mannerism, London/ Leipzig: Thames & Hudson/ VEB Edition, 1962
     
101. ---, La maniera italiana, Florence: Sansoni, c1985
     
102. Brown, Howard Mayer, "Psyche's Lament: Some Music for the Medici Wedding in 1565", Words and Music: The Scholar's View, edited by Laurence Berman, 1-27, Cambridge, MA, 1972
     
103. ---, Music in the Renaissance, Englewood Cliffs, NJ: Prentice-Hall, 1976
     
104. ---, "Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance", Journal of the American Musicological Society 35 (1982), 1-48
     
105. Bucchi, Valentino, L'Orfeo di Claudio Monteverdi, [Florence]: n.p., 1949
     
106. Buelow, George J., Thorough-Bass Accompaniment According to Johann David Heinichen, Berkeley and Los Angeles: University of California Press, 1966
     
107. Bukofzer, Manfred, Music in the Baroque Era from Monteverdi to Bach, London/New York: Dent/Norton, 1948
     
108. Buller, Jeffrey L., "Looking Backwards: Baroque Opera and the Ending of the Orpheus Myth", International Journal of the Classical Tradition 1/3 (1995), 57-79
     
109. Burdick, Michael, "Phrase Painting and Goal Orientation in Two Late Gesualdo Madrigals", Indiana Theory Review 5.2 (1982), 16-33
     
110. Burke, Peter, The Renaissance Sense of the Past, London: Edward Arnold, 1969
     
111. Butchart, David, I madrigali di Marco da Gagliano, Civiltà musicale medicea collana di studi musicologici e organologici, ed. Mario Fabbri, 1, Florence: Leo S. Olschki, 1982
     
112. Calcaterra, Carlo, ed., I lirici del seicento e dell'Arcadia, Milan, 1936
     
113. ---, Il Parnaso in rivolta, Bologna: Mulino, 1961
     
114. Carapetyan, Armen, "The Concept of the Imitazione della natura in the Sixteenth Century", Musica disciplina 1 (1946), 47ff
     
115. Carapezza, Paolo Emilio, "`O soave armonia': classicita, maniera e barocco nella scuola polifonica siciliana", Studi musicali 3 (1974), 347-390. N
     
116. ---, "`Non si levava ancor l'alba novella' Cantava il Gallo sopra il Monteverde", Sette variazioni -- a Luigi Rognoni musiche e studi dei discepoli palermitani, edited by Istituto di storia della musica dell'Università di Palermo, 47-77, Palermo: S.F. Flaccovio, 1985
     
117. Cardamone, Donna G., The Villanesca and Related Italian Vocal Part-Music from 1500 to 1560, Ph.D. Dissertation, Harvard University, 1972
     
118. ---, ed., Adrian Willaert and his Circle: Canzone Villanesche alla Napolitana and Villotte, Recent Researches in the Music of the Renaissance 30, Madison: A-R Editions, 1978
     
119. ---, The `Canzone villanesca alla napolitana' and Related Forms, 1537- 1570, Studies in Musicology 45, Ann Arbor: UMI Research Press, 1981
     
120. Carocci, Mauro, L'arte del recitar, danzar cantando: Monteverdi 1600, Carocci 1985/ Mauro Carocci; presentazione, Lorenzo Tozzi, Alberto Ventura, Rome: Soc. LASER: Laboratorio metodologico della danza, 1985
     
121. Carter, Harry Hardin, A Study of the Concertato Psalm Settings in Monteverdi's Selva morale e spirituale, D.M.A. Thesis, University of Illinois at Urbana-Champaign, 1971
     
122. Carter, Tim, "Review of Denis Arnold and Nigel Fortune, eds., `The New Monteverdi Companion', and Paolo Fabbri, `Monteverdi'", Music & Letters 67 (1986), 169-172
     
123. ---, "Artusi, Monteverdi, and the Poetics of Modern Music", Musical Humanism and its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning, 171-194, Stuyvesant, NY: Pendragon Press, 1992
     
124. ---, "`Possente spirto' - Monteverdi and Orphic Song: On Taming the Power of Music", Early Music 21/4 (1993), 517
     
125. ---, "Intriguing Laments: Sigismondo d'India, Claudio Monteverdi, and Dido alla parmigiana", Journal of the American Musicological Society, 49 (1996), 32-69
     
126. Castiglione, Baldassare, The Book of the Courtier, Harmondsworth: Penguin, 1967
     
127. ---, The Book of the Courtier, 1974
     
128. Castil-Blaze, Dictionnaire de musique moderne, 1821
     
129. Cavaliere, Emilio del, Rappresentatione di anima et di corpo, nuovamente posta in musica dal Emilio delo Cavelliere, per recitare cantando, Rome, 1600
     
130. Cesari, Gaetano, Die Entstehung des Madrigals im 16. Jahrhundert, Cremona: P. Fezzi, 1908
     
131. ---, La musica in Cremona nella seconda meta del secolo XVI e i primordi dell'arte monteverdiana: Madrigali a 4 e a 5 voci di M. A. Ingegneri, Sacrae cantiunculae e Canzonette di C. Monteverdi, a cura di Gaetano Cesari. Con prefazione di Guido Pannain su appunti di G. Cesari, Istituzioni e monumenti dell' arte musicale italiana 6, Milan: Edizioni Ricordi, 1939
     
132. ---, Le origini de madrigale cinquecentesco, Bibliotheca musica Bononiensis Sezione III, n. 36, Bologna: A. Forni, 1976
     
133. Chafe, Eric T., "Key Structure and `Tonal Allegory' in the Passions of J.S. Bach: An Introduction", Current Musicology 31 (1981), 39-54
     
134. ---, Tonal Allegory in the Vocal Music of J.S. Bach, 1st ed., Berkeley and Los Angeles: University of California Press, 1991
     
135. ---, "Aspects of durus/mollis Shift and the Two-System Framework of Monteverdi's Music", Schütz-Jahrbuch (1991), no. 1990, 171-206
     
136. ---, Monteverdi's Tonal Language, New York: Schirmer Books, 1992
     
137. Chater, James Michael, Luca Marenzio and the Italian Madrigal, 1577-1593, Studies in British musicology, Ann Arbor, MI: UMI Research Press, c1981
     
138. Chew, Geoffrey, "The Perfections of Modern Music: Consecutive Fifths and Tonal Coherence in Monteverdi", Music Analysis 8/3 (1989), 247-273
     
139. ---, I'm Sorry, I'll Say that Again: Interrelations between Tonal Types and their Rhetorical Basis in Monteverdi, Paper read at National Meeting, American Musicological Society, Austin, Texas (1989)
     
140. ---, "Pastoral", The New Grove Dictionary of Opera, edited by Stanley Sadie, vol. 3, 910-913, London: Macmillan, 1992
     
141. ---, "The Platonic Agenda of Monteverdi's Seconda Pratica: A Case Study from the Eighth Book of Madrigals", Music Analysis 12/2 (1993), 147-168
     
142. Chiarelli, Alessandra, "`L'incoronazione di Poppea' o `Il Nerone': Problemi di filologia testuale", Rivista italiana di musicologia 9 (1974), 117-151
     
143. Choron, Alexandre-Étienne and Francois-Joseph Fayolle, Dictionnaire historique des musiciens artistes et amateurs, morts ou vivans, qui se sont illustrés en une partie quelconque de la musique et des arts qui y sont relatifs, 2 vols., Paris: Valade, 1810-11
     
144. Ciacchi, Linda Mary, Rhythm, Text, and Formal Design in the Ostinato Madrigals of Claudio Monteverdi, Ph.D. Dissertation, Yale University, 1993
     
145. Cimbro, Attilio, "I madrigali di Claudio Monteverdi", Musica 2 (1943), 3-34
     
146. Clément, Catherine, Opera, or the Undoing of Women, Minneapolis, 1988
     
147. Clendenin, W.Ritchie and William R. Clendenin, eds., Modo per imparare a sonare di tromba: A Modern Edition of Girolamo Fantini's Trumpet Method (1638), Boulder, Colo.: Empire Printing Co., 1977
     
148. Cochrane, Eric, The Late Italian Renaissance, 1525-1630, London: Macmillan, 1970
     
149. ---, "The Transition from Renaissance to Baroque: The Case of Italian Historiography", History and Theory 19 (1980), 21-38
     
150. Cody, Richard, The Landscape of the Mind: Pastoralism and Platonic Theory in Tasso's `Aminta' and Shakespeare's Early Comedies, 1st ed., Oxford: Clarendon Press, 1969
     
151. Coeurdevey, Annie, "Claudio Monteverdi: Madrigaux, Livre IV", Analyse Musicale 25 (1991), 65-76
     
152. Comitato mantovano per le celebrazioni del IV centenario della nascita di Claudio Monteverdi, Catalogo delle lettere autografe di Claudio Monteverdi conservate presso l'archivio di stato gonzaghesco di Mantova/ a cura di Umberto Bonafini, Mantua: CITEM, [1968?]
     
153. Convegno di studi dedicato a Claudio Monteverdi: Siena 1967, Atti del Convegno di studi dedicato a Claudio Monteverdi, Siena, 28-30 aprile 1967, Rivista italiana di musicologia 2/2, Florence: Leo S. Olschki, 1967
     
154. Cook, Susan C. and Thomasin K. LaMay, Virtuose in Italy, 1600-1640: A Reference Guide, Garland Reference Library of the Humanities 404, New York: Garland, 1984
     
155. Copenhaver, Brian P. and Charles B. Schmitt, Renaissance Philosophy, A History of Western Philosophy 3, Oxford and New York: Oxford University Press, 1992
     
156. Covell, Roger, "Monteverdi's Proserpina rapita: Clues in Absentia", Sound and Reason: Music and Essays in Honour of Gordon D. Spearritt, edited by Warren A. Bebbington and Royston Gustavson, 142-160, St Lucia, Queensland: Faculty of Music, University of Queensland, 1992
     
157. Cowart, G., The Origins of Modern Musical Criticism: French and Italian Music 1600-1750, Studies in Musicology 38, Ann Arbor: UMI Research Press, 1981
     
158. Cowen, Graeme, "A Monteverdi Madrigal Rebarred", Choral Journal 35/1 (1994), 47
     
159. Cranna, Clifford Alan, jr., Adriano Banchieri's `Cartella musicale' (1614): Translation and Commentary, Ph.D. Dissertation, Stanford University, 1981
     
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358. Leichtentritt, Hugo, "Claudio Monteverdi als Madrigalkomponist", Sammelbände der Internationalen Musikgesellschaft 11 (1909-10), 255-291
     
359. Leopold, Silke, Claudio Monteverdi und seine Zeit, Grosse Komponisten und ihre Zeit, Laaber: Laaber-Verlag, 1982
     
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368. ---, "Review of Iain Fenlon and James Haar, The Italian Madrigal in the Sixteenth Century: Sources and Interpretation", Journal of Musicological Research 10.3/4 (1991), 287-290
     
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372. Lockwood, Lewis, "A View of the Early Sixteenth-Century Parody Mass", Queen's College: Twenty-Fifth Anniversary Festschrift, edited by A. Mell, 53-77, Flushing, NY: Queen's College, 1964
     
373. ---, "On Parody as Term and Concept in Sixteenth-Century Music", Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, edited by Jan LaRue, 560-575, New York: Norton, 1966
     
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380. MacClintock, Carol, "New Sources of Mantuan Music", Journal of the American Musicological Society 22 (1969), 508-511
     
381. ---, ed., Readings in the History of Music in Performance, Bloomington: Indiana University Press, 1979
     
382. Mack, Gerald Raymond, A performance and analysis of the Messa III a quattro voci da cappella, by Claudio Monteverdi, Ed.D. Dissertation, Columbia University, 1966
     
383. Mackenzie, Pierre Henri Parnell, Cipriano de Rore's Second Book of Four- Voiced Madrigals, 1557, Ph.D. Dissertation, c1991
     
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389. Maniates, Maria Rika, Mannerism in Italian Music and Culture, 1530-1630, Chapel Hill/ Manchester: University of North Carolina Press/ Manchester University Press, 1979
     
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397. McClary, Susan Kaye, The Transition from Modal to Tonal Organization in the Works of Monteverdi, Ph.D. Dissertation, Harvard University, 1976
     
398. ---, Feminine Endings: Music, Gender, and Sexuality, Minneapolis: University of Minnesota Press, 1991
     
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401. ---, Die Tonarten der klassischen Vokalpolyphonie nach den Quellen dargestellt, Utrecht: Oosthoek, Scheltema & Holkema, 1974
     
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415. Monteverdi, Claudio and Giacomo Badoaro, [Il retorno d'Ulisse in patria; drama in musica, rappresentato in Venetia nel Teatro di San Cassiano, l'anno 1641. Poesie de Giacomo Badiari, musica di Claudio Monteverde], NOTES: Manuscript in unknown hand. -- Flyleaf has handwritten remark: Auctor musicus est Cl. Monteverde judicibus Kiesewetter, Molitor et Ambros. -- [sign.ill.]. -- Original in the Wiener Nationalbibliothek [sic]. -- Sibley Music Library accession no.: 1058243. -- Photocopy (negative). [Vienna?: Ö™sterreichische Nationalbibliothek?, 19--?] ([1641?])
     
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417. ---, [L'incoronazione di Poppea. 164-?], Score (108 l.) 21 x 29 cm: Biblioteca nazionale marciana. Manuscript. It. Cl. IV, 439. -- NOTES: The libretto is by G. F. Busenello ([164?])
     
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445. ---, "Claudio Monteverdi's `Ordine novo, bello et gustevole': The Canzonetta as Dramatic Module and Formal Archetype", Journal of the American Musicological Society 45 (1992), 261-304
     
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457. ---, "Marco Scacchi's Defense of Modern Music (1649)", Words and Music, The Scholar's View: A Medley of Problems and Solutions Compiled in Honor of A. Tilman Merritt, edited by L. Berman, 189-235, Cambridge, MA: Harvard University, Department of Music, 1972
     
458. ---, "Ut oratoria musica: The Rhetorical Basis of Musical Mannerism", The Meaning of Mannerism, edited by Franklin W. Robinson and Stephen G. Nichols, 37-65, Hanover, NH: University Press of New England, 1972
     
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461. ---, Humanism in Italian Renaissance Musical Thought, New Haven: Yale University Press, 1985
     
462. Pandi, Marianne, Claudio Monteverdi, Kis zenei könyvtar 19, Budapest: Gondolat Kiado, 1961
     
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466. Passuth, László, Monteverdi: der Roman eines grossen Musikers [Nach dem ungarischen Original übertragen von Alexander Sacher-Masoch], Vienna: P. Neff, 1959
     
467. ---, A mantuai herceg muzsikusa; Claudio Monteverdi koranak regenyes tortenete, A Zenemukiado eletrajzregenyei, Budapest: Zenemukiado Vallalat, 1959 [c1957?]
     
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482. ---, "Novelty and Renewal in Italy, 1300-1600", Studien zur Tradition in der Musik: Kurt von Fischer zum 60. Geburtstag, edited by H.H. Eggebrecht and Max Lütolf, 49-63, Munich, 1973
     
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494. ---, "Monteverdi's Model for a Multimodal Madrigal", In Cantu et in Sermone: For Nino Pirrotta on his 80th Birthday, edited by F. Della Seta and F. Piperno, 185-219, Italian Medieval and Renaissance Studies 2, Florence: Leo S. Olschki, 1989
     
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511. ---, Slohové problémy italské monodie: Príspevek k dejinám jednohlasé barokní písne, Prague and Brno: Melpa, 1938
     
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515. ---, Stilprobleme der italienischen Monodie, Opera universitatis Purkynianae Brunensis, Facultas Philosophica 103, Prague: Státní pedagogické nakladatelství, 1965
     
516. Rands, Bernard, Madrigali (after Monteverdi/Berio), London: Universal Edition, c1980
     
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520. ---, Claudio Monteverdi: Life and Works, London: Oxford University Press/ Geoffrey Cumberlege, 1952
     
521. Reichhart, Renate, Claudio Monteverdis "L'Orfeo" und seine Bearbeitungen: die Entwicklung der Monteverdi-Rezeption des letzten Jahrhunderts, demonstriert an ausgewählten Beispielen der Interpretationen seiner Oper "L'Orfeo", Ph.D. Dissertation, University of Vienna, 1986
     
522. Rhys, Hedley Howell, ed., Seventeenth-Century Science and the Arts (The William J. Cooper Foundation Lectures, Swarthmore College, 1960), Princeton, NJ: Princeton University Press, 1961
     
523. Ridler, Anne, The Operas of Monteverdi, English National Opera Guides 45, London: Calder, 1992
     
524. Riemann, Hugo, Musik-Lexikon: Theorie und Geschichte der Musik, Leipzig: Verlag des Bibliographischen Instituts, 1882
     
525. ---, "Eine siebensätzige Tanzsuite von Monteverdi v.J. 1607", Sammelbände der Internationalen Musikgesellschaft 14 (1912-13), 26-33
     
526. ---, Handbuch der Musikgeschichte, Leipzig, 1912
     
527. Rinuccini, Ottavio, Poesie del Sr. Ottavio Rinuccini, Florence: I Giunti, 1622
     
528. Robb, Nesca A., The Literary and Artistic Manifestations of Neo-Platonism in the Italian Renaissance, D.Phil Dissertation, Oxford University, 1933
     
529. ---, Neoplatonism of the Italian Renaissance, London: George Allen & Unwin, 1935
     
530. Roche, Jerome, "The Duet in Early Seventeenth-Century Italian Church Music", Proceedings of the Royal Musical Association 93 (1966-7), 33
     
531. ---, "Music at S. Maria Maggiore, Bergamo, 1614-1643", Music & Letters 47 (1966), 296
     
532. ---, North Italian Liturgical Music in the Early Seventeenth Century, Ph.D. Dissertation, University of Cambridge, 1968
     
533. ---, Palestrina, London, 1971
     
534. ---, "Monteverdi: An Interesting Example of Second Thoughts", Music Review 33 (1971), 193
     
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537. ---, "Giovanni Antonio Rigatti and the Development of Venetian Church Music in the 1640s", Music & Letters 57 (1976), 256
     
538. ---, Lassus, London, 1982
     
539. ---, North Italian Church Music in the Age of Monteverdi, Oxford Monographs on Music, Oxford: Clarendon Press, 1984
     
540. ---, The Madrigal, Early Music Series [London, 1976] 11, 2nd ed., Oxford and New York: Oxford University Press, 1990
     
541. Roche, Jerome and Elizabeth Roche, A Dictionary of Early Music: from the Troubadours to Monteverdi, London: Faber Music, 1981
     
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546. Rosand, Ellen, "The Descending Tetrachord: An Emblem of Lament", Musical Quarterly 65 (1979), 346-359
     
547. ---, "Iro and the Interpretation of Il Ritorno d'Ulisse in Patria", Journal of Musicology 7.2 (1989), 141-164.
     
548. ---, "Did Monteverdi Write L'Incoronazione Di Poppea And Does It Matter?", Opera News 59/1 (1994) (July), 20
     
549. Rowland, Daniel B., Mannerism: Style and Mood; An Anatomy of Four Works in Three Art Forms, Yale College series 2, New Haven: Yale University Press, 1964
     
550. Royds, Graham, Catalogue of the Hans Ferdinand Redlich Collection of Musical Books and Scores (including Material on the Second Viennese School)/ [University of Lancaster Library], Lancaster University Library: Miscellaneous Publications Series, Lancaster: Lancaster University, 1976
     
551. Rubio, Hector Edmundo, Der Manierismus in der Vokalpolyphonie des 16. Jahrhunderts, Frankfurter Beiträge zur Musikwissenschaft 5, Tutzing: Hans Schneider, c1982
     
552. ---, Der Manierismus in der Vokalpolyphonie des 16. Jahrhunderts, Frankfurter Beiträge zur Musikwissenschaft 5, Tutzing: H. Schneider, c1982
     
553. Sachs, Klaus-Jürgen, "`Theorica e Prattica di Musica' in Pietro Pontios Dialogo (Parma 1595)", Musiktheorie 4.2 (1989), 3-14
     
554. ---, "Musikalische "Struktur" im Spiegel der Kompositionslehre von Pietro Pontios Ragionamento di musica (1588)", Zeichen und Struktur in der Musik der Renaissance: Ein Symposium aus Anlass der Jahrestagung der Gesellschaft für Musikforschung, Münster (Westfalen) 1987, 141-158, Kassel: Bärenreiter, 1989
     
555. Sacre, James, Pour une definition semiotique du manierisme et du baroque: des "Sonnets pour Helene" de Ronsard a "La Maison d'Astree" de Tristan l'Hermite, Documents de recherche (Ecole des hautes etudes en sciences sociales, Groupe de recherches semio-linguistiques) 4, Besancon: Groupe de recherches semio-linguistiques, Ecole des hautes etudes en sciences sociales, Centre national de la recherche scientifique, [1979]
     
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557. Sandberger, Adolf, ed., Claudio Monteverdi: Orfeo; Facsimile des Erstdrucks der Musik / eingeleitet und herausgegeben von Adolf Sandberger, Augsburg: B. Filser, 1927
     
558. Santoro, Elia, La famiglia e la formazione di Claudio Monteverdi: note biografiche con documenti inediti, Annali della biblioteca governativa e libreria civica di Cremona 18, fasc. 1, Cremona: Athenaeum Cremonense, 1967
     
559. ---, Iconografia Monteverdiana. [A cura del] Comitato cremonese per le celebrazioni monteverdiane nel IV centenario della nascita, Annali della biblioteca governativa e libreria civica di Cremona 19, fasc. 1, Cremona: Athenaeum Cremonense, 1968
     
560. Sartori, Claudio, Monteverdi, Brescia: Scuola, 1953
     
561. Sauser, Rudolf, ed., Monteverdi Gastspiele: Hamburg, Wien, Edinburgh, Berlin, Mailand, Zürich: [Orell Füssli for] Opernhaus Zürich, 1978?
     
562. Schalz, Nicolas, Studien zur Komposition des Gloria: musikalische Formgestaltung von der Gregorianik bis zu Monteverdi, Frankfurter Beiträge zur Musikwissenschaft 3, Tutzing: Schneider, 1980
     
563. Scheer, W., Die Frühgeschichte der italienischen Villanella, Nördlingen, 1963
     
564. Schellhous, Rosalie, "Fétis's Tonality as a Metaphysical Principle: Hypothesis for a New Science", Music Theory Spectrum 13/2 (1991), 219-240
     
565. Schenker, Heinrich, Johannes Brahms, Oktaven und Quinten u.A., aus dem Nachlass herausgegeben und erläutert, Vienna: Universal, 1933
     
566. Schmalzriedt, Siegfried, Heinrich Schütz und andere zeitgenössische Musiker in der Lehre Giovanni Gabrielis; Studien zu ihren Madrigalen, Tübinger Beiträge zur Musikwissenschaft 1, Neuhausen-Stuttgart: Hänssler-Verlag, 1972
     
567. Schneider, Louis, Un précurseur de la musique italienne aux XVIe et XVIIe siècles: Claudio Monteverdi (1567-1643), l'homme et son temps, le musicien; Ouvrage orné de huit gravures hors texte, 3rd ed., Paris: Perrin et Cie, 1921 [c1920]
     
568. Schoenberg, Arnold, At present everywhere where music has a place, PHYSICAL DETAILS: [20] leaves ([22] p.) ; 25 cm. or smaller. Holograph (black ink, pencil, red pencil); IN: Schoenberg, Arnold, 1874-1951. Collection of text manuscripts. -- 1890-1951. Related record ID (CLAS)CASG86-A52; CALL NUMBER: T40.14; NOTES: In English; Title from first line. Leaves [1-2] (p. 1-4) are small (17x13 cm.) pieces of white paper showing a horizontal crease through the middle (there are 2 small perpendicular cuts made through the each crease), to the left side of which are attached strips of brown paper (24x3 cm.) in which are punched 4 loose- leaf binding holes (1, 2, 1). Leaves 5-[12] (p. 5-11, [12]) are white paper (25x15 cm.) manufactured with 3 loose-leaf binding holes in the left margin, leaves 5-6 are only written on the verso and have 4 loose-leaf binding holes punched in the left margin of the verso, leaves 7-[12] are only written on the recto. Leaves 1-[12] comprise a single essay, the remaining leaves contain more fragmented writings written at various times. Leaves [13-17] & [20] are white paper (20x13 cm.) written only on the recto with one irregularly shaped hole in the middle of the left margin, above that hole are one smaller hole and a staple mark (perforations). Leaf [18] is white paper (34 blue lines, 24x15 cm.) manufactured with 3 loose-leaf binding holes in the left margin, written only on the recto and signed. Leaf [19] is on white paper (20x13 cm.) manufactured with 2 loose-leaf binding holes in the left margin, in addition there is a 3rd irregular hole between these, there is rust from a paperclip on the right side, written only on the recto. Microfiche 60 (Z41). -- SUMMARY: Schoenberg distinguishes between art, or particularly music as experienced through the interpretation of performance versus its perfect existence in the mind of the composer. Additional fragments are primarily examples illustrating this difference. -- NOTES: Opening words: (1st part) "At present everywhere where music has a place"... -- (2nd part) "It is the general belief"... -- (3rd part) "Richard Strauss once told a friend"... -- "Popular thinking differs"... -- "A philosopher, an astronomer"... -- "Popular art has also"... -- "You can not become a Johann Strauss"... -- "democracy is dependent on education"... -- "To accomodate to the lowest"... -- "Science, art and religion"... -- "Education wants to elevate"... -- "Chess can not be played"... -- "Mathematics can not so"... -- "If you want to construct"... -- "In war one learns"... -- "Monteverdi wrote for aristocracy"... -- "Art for the few"... -- "Not have serious composers lost"... -- (High borough [sic]) "There could not be anything"... -- "Mister Olin Downes talk over NBC"... -- "The impression of many performances"... -- (Rhythm) "Variety equals nonsense"... -- "If it is art"... -- CITE AS: Arnold Schoenberg Institute, Text Mss. Collection A-Z, Box T40, Folder 14 ([1934?-1949?])
     
569. ---, Art and the moving pictures [1st-3rd drafts], PHYSICAL DETAILS: 7, [7], 6, 6 leaves ([8], [8], 6, 6 p.); 28 cm. or smaller. 1st draft: typescript carbon (blue ink, some black ink) holograph corrections (rec, blue, green & black pencil & black ink); 2nd draft: typescript (black ink) holograph corrections (pencil, red pencil, black ink) ; 3rd draft (copy 1): typescript (black ink); 3rd draft (copy 2): typescript carbon (black ink) some holograph (blue ink). -- IN: Schoenberg, Arnold, 1874-1951. Collection of text manuscripts. -- 1890-1951. Related record ID (CLAS)CASG86-A52. -- CALL NUMBER: T40.12. -- NOTES: In English. Title from 3rd draft. 1st draft (which is carbon of 2nd draft typescript) is on white letter-size paper (watermark: "CRONICON/U.S.A.") with 2 closely spaced irregularly shaped holes (for binding) in the upper left margin, p. 3 has partial leaf attached, leaves 2-6 are numbered, in addition there is a small leaf (10x17 cm.) of yellowish paper (1 double red line near top, 23 blue lines) written on verso sideways manufactured with 6 holes (3, 3) in left margin, one irregularly shaped hole (for binding) in bottom left corner, "Copyright" is written in red pencil in the left margin of p. [1]. 2nd draft (which is original of 1st draft typescript carbon) is on white letter-size paper (watermark: "CRONICON/U.S.A.") with multiple irregularly shaped holes (ca. 17) (for binding) in left margin, in addition there are three staple marks (rust and perforations) in the left margin, leaves are numbered 1a & 2-3, p. 3 has partial leaf attached, "I want 10 copies" is written in red pencil in the left margin of p. [1], "Copyright by Arnold Schoenberg/April 1940" written in red pencil at bottom of p. 6. -- NOTES: 3rd draft exists in two copies, an original and a carbon, bears a footnote to the title indicating its source in the journal California arts and architecture, on white letter- size paper, original is on heavier weight paper (watermark: "[crown]/ EATON'S/CORRASABLE/BOND/USA/BERKSHIRE/118") than carbon (unwatermarked), p. 2-6 are numbered, the carbon copy is worn and has numbers (50.3.25/1625/ 812.50) written in blue ink at the bottom of p. 6, the original has the mark of a paperclip in the upper left corner, the carbon has the mark of a staple (rust and perforations) in the upper left corner, there is also a yellow stain in the upper left corner of all leaves of the carbon. -- NOTES: Published as "Art and the moving pictures" in California arts and architecture 57/4 (Apr. 1940), p. 12, 38, 40. -- REFERENCES: Rufer. Schriften II C50. -- NOTES: Microfiche 9. -- SUMMARY: Schoenberg bemoans the low artistic subjects which sound films use. -- NOTES: Opening words: "When Berlin's UFA made its first successful experiments"...; CITE AS: Arnold Schoenberg Institute, Text Mss. Collection A-Z, Box T40, Folder 12 (April 1940)
     
570. Schrade, Leo, Monteverdi: Creator of Modern Music, The Norton library N490, SERIES: The Norton library, N490, New York: W.W. Norton, c1950
     
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591. Strunk, Oliver, ed., Source Readings in Music History: From Classical Antiquity through the Romantic Era, New York: W.W. Norton, 1950
     
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595. Szweykowski, Zygmunt M., Miedzy kunsztem a ekspresja; II: Rzym [From Virtuosity to Expression; II: Rome], 1st ed., Krak˘w: Musica Iagellonica [Uniwersytet Jagiellonski, Katedra Historii i Teorii Muzyki], 1994
     
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600. ---, "Monteverdi e la filosofia dell'arte", Rassegna musicale 2 (1929), 459-468
     
601. Testa, Fausto, Spazio e allegoria nel giardino manierista: problemi di estetica, Pubblicazioni della Facolta di lettere e filosofia dell'Universita di Pavia 62, 1st ed., Firenze: Nuova Italia, 1991
     
602. Thorwald, Jürgen, Die Monteverdi-Mission, 2nd ed., Munich: Droemer Knaur, c1989
     
603. Tiby, Ottavio, Claudio Monteverdi, Collezione "I maestri della musica" 30, Turin: Arione, n.d.
     
604. Tomlinson, Gary Alfred, Rinuccini, Peri, Monteverdi, and the Humanist Heritage of Opera, Ph.D. Dissertation, University of California, Berkeley, 1979
     
605. Tomlinson, Gary, "Madrigal, Monody, and Monteverdi's `via naturale alla immitatione'", Journal of the American Musicological Society 34 (1981), 60-108
     
606. ---, "Music and the Claims of Text: Monteverdi, Rinuccini, and Marino", Critical Inquiry 8 (1982), 565-589
     
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