Theorising Pastoral Song in the Italian Madrigal, 1600-1640

意大利牧歌中的田园歌曲理论，1600-1640

• 批准号: 2878430
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2878430
• 关键词: Theorising; Pastoral; Song; Italian; Madrigal

As modern civilisation adapts and responds to the precarious place of the natural environment in this century, humanity's relationship with nature has become subject to constant redefinition. In literary scholarship, this has been reflected in research on the nature of pastoral become increasingly frequent, resulting in derivative areas of study including post-pastoral and anti-pastoral (see Gifford, 2019; Entwistle, 2011). This has been paralleled with the recent rise of Ecomusicology as a discipline in which music's relationship with its natural environment may be interrogated (e.g. Allen & Dawe, 2016). These issues have importance resonances throughout history; in particular, the rise of humanism in the Renaissance had prompted a fundamental reconsideration of the relationship between man and nature, and the revival of pastoral from Antiquity was one mode through which this cultural identity was codified in literature, art, and music. Building on recent work which considers music's representational relationship with nature, including developments in Ecomusicology, this dissertation reconsiders the flourishing of pastoral literature in the late Renaissance through its representations in the Italian madrigal. Current scholarship in this area tends to centre on Battista Guarini's pastoral drama Il pastor fido (e.g. Coluzzi; 2023). Other scholarship which has examined pastoral and music has either emphasised notions of its simplicity, its idyllicism, and the conventionalisation of these characteristics in musical practice, particularly in composers' adoption of the style of the canzonetta (e.g. Einstein, 1948), or looked beyond these characterisations to identify a locus of pathos in musical responses to the genre (e.g. Gerbino, 2009). I attempt to examine musical responses to both dramatic and lyric pastoral poetry, looking beyond Il pastor fido and considering pastoral more broadly as an aestheticisation of nature, with a specific emphasis on pastoral's association with the development of monody in the early seventeenth century. Through an analysis of pastoral's place within lyric and dramatic musical texts of the late renaissance, I place the supposed naturalness of song in pastoral poetry within the approach of verisimilitude in music and the development of early opera. No single work has been studied more in this respect that Battista Guarini's pastoral drama Il pastor fido. And yet, despite the work's popularity, its space as a dramatic work - and therefore its interaction with the musical developments of the early seventeenth-century - still remains to be clarified. While James Chater (1997) has noted how composers transitioned from selecting texts from Il pastor fido which appeared ready formed as poesia per musica (poetry for music), towards those which required a conscious engagement with the representation of their dramatic implications, study of the work's implications outside the realm of the polyphonic madrigal is lacking. Through the critical study of literary and musical sources, I therefore aim to clarify the aesthetic relationship between pastoral texts - in which song was seen by contemporary theorists and authors as an existential condition (e.g. Giambattista Doni, 1635; and Battista Guarini, 1602) - and the musical development of monody, which placed the verisimilar delivery of speech as song as its primary aim. Somewhat paradoxically, despite its dramatic orientation Il pastor fido was not popular with early exponents of monody (Carter, 1997), and I aim to investigate this paradox through an analysis of pastoral's place between lyric and dramatic poetry in the early seventeenth century. In considering pastoral more broadly as an aestheticisation of nature beyond the limits of Il pastor fido, I aim to clarify issues of verisimilitude and of nature's representation in the madrigal. While helping clarify the development of early opera, this research will also provide a balance to the current focu

本世纪，随着现代文明适应和应对自然环境的不稳定，人类与自然的关系不断被重新定义。在文学学术领域，这体现在对田园性质的研究变得越来越频繁，从而产生了包括后田园和反田园在内的衍生研究领域（见Gifford，2019；Entwistle，2011）。这与最近兴起的生态音乐学作为一门学科相平行，在该学科中，音乐与其自然环境的关系可能受到质疑（例如 Allen & Dawe，2016）。这些问题在整个历史上都产生了重要的共鸣。尤其是文艺复兴时期人文主义的兴起，促使人们对人与自然的关系进行根本性的重新思考，而古代田园风格的复兴正是这种文化身份被编入文学、艺术和音乐的一种模式。本文以最近研究音乐与自然的表征关系（包括生态音乐学的发展）的研究为基础，通过其在意大利牧歌中的表现，重新思考文艺复兴晚期田园文学的繁荣。目前该领域的学术研究往往集中在巴蒂斯塔·瓜里尼 (Battista Guarini) 的田园剧《Il pattor fido》（例如 Coluzzi；2023）。其他研究田园音乐和音乐的学术要么强调其简单性、田园主义的概念，以及这些特征在音乐实践中的传统化，特别是作曲家对小调歌曲风格的采用（例如爱因斯坦，1948），要么超越这一点这些特征是为了识别对该流派的音乐反应中的悲情所在（例如 Gerbino，2009）。我试图考察音乐对戏剧性和抒情田园诗的反应，超越《牧师菲多》，更广泛地将田园诗视为自然的审美化，特别强调田园诗与十七世纪早期单一音乐发展的联系。通过对田园诗在文艺复兴后期抒情和戏剧音乐文本中的地位的分析，我将田园诗中歌曲的自然性置于音乐的逼真性和早期歌剧的发展之中。在这方面，没有一部作品比巴蒂斯塔·瓜里尼（Battista Guarini）的田园剧《伊尔牧师菲多》（Il Pastor fido）受到更多的研究。然而，尽管这部作品很受欢迎，但它作为一部戏剧作品的空间——以及它与十七世纪初音乐发展的相互作用——仍然有待澄清。虽然詹姆斯·查特（James Chater，1997）注意到作曲家如何从选择《Il Pastor fido》中的文本（这些文本似乎已经形成为 poesia per musica（音乐诗歌））转向那些需要有意识地参与其戏剧性含义的表现的文本，对作品缺乏复调牧歌领域之外的影响。因此，通过对文学和音乐来源的批判性研究，我的目标是澄清田园文本之间的审美关系——其中歌曲被当代理论家和作家视为一种存在条件（例如 Giambattista Doni，1635；和 Battista Guarini，1602）——以及单曲的音乐发展，其主要目标是以歌曲形式表达逼真的语言。有点矛盾的是，尽管《伊尔牧师菲多》具有戏剧性的取向，但它并没有受到单一性早期倡导者的欢迎（Carter，1997），我的目的是通过分析 17 世纪初田园诗在抒情诗和戏剧诗之间的地位来调查这一悖论。在更广泛地将田园诗视为超越《伊尔牧师菲多》限制的自然审美化时，我的目的是澄清牧歌中真实性和自然再现的问题。这项研究在帮助阐明早期歌剧发展的同时，也将为当前的焦点提供平衡。