Such ecstatic agony the conflicted self in the life and art of carlo gesualdo
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Such Ecstatic Agony: The Conflicted Self in the Life and Art of Carlo Gesualdo. singers.com. Sam Coronado, Department of English, College of Arts and Sciences Faculty Mentor: B.H. Fairchild, Department of English, College of Arts and Sciences. Topic of Study.

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Such Ecstatic Agony: The Conflicted Self in the Life and Art of Carlo Gesualdo

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Such ecstatic agony the conflicted self in the life and art of carlo gesualdo

Such EcstaticAgony: The Conflicted Self in the Life and Art of Carlo Gesualdo

singers.com

Sam Coronado, Department of English, College of Arts and Sciences

Faculty Mentor: B.H. Fairchild, Department of English, College of Arts and Sciences


Topic of study

Topic of Study

Demythologizing Carlo Gesualdo: examining the life, culture, and influence of the Prince of Venosa and his contributions to music history.

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Research questions

Research Questions

  • What defines Mannerist art, and distinguishes it from Renaissance art?

  • How was political life structured during Gesualdo’s life (1566-1613)?

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Research questions continued

Research Questions Continued

  • What philosophical and aesthetic considerations informed Gesualdo’s compositions?

  • How did Gesualdo’s social standing and political obligations influence his work?

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Literature review

Literature Review

  • Gesualdo lived during the end of the Italian Renaissance, allowing him to be exposed to Renaissance ideas.

  • However, Gesualdo can most accurately described as a Mannerist composer (Rowland 23).


Literature review continued

Literature Review Continued

  • Gesualdo’s compositions were different. They denied his audience a modal center.

  • Gesualdo’swork emphasized inaccessibility and irresolution (Rowland 43).


Literature review continued1

Literature Review Continued

  • Mannerism was not the creation of an entirely new artistic vocabulary. Rather, Mannerism negated and subverted the ideals that influenced it (Kirchman 4).

  • Accordingly, Gesualdo used the madrigal as his form to alter and subvert (Rowland 26).


Literature review continued2

Literature Review Continued

  • 16th Century Italian politics: a liminal state filled with tension and uncertainty (Kirchman 1).

  • Gesualdo shirked and demonstrated a carelessness in regards to his social status (Newcomb 418).


Proposed methodology

Proposed Methodology

  • This paper will be informed through a careful reading of texts by artists, composers, critics, theologians, and other cultural figures from the Renaissance.

  • The paper will also use recent scholarship, such as Glenn Watkins’ Gesualdo: The Man and His Music, Alfred Einstein’s The Italian Madrigal, and Claude Palisca’sStudies in the History of Italian Music and Music Theory.


Future plans

Future Plans

  • Majority of research and writing will be done over the summer and into early fall of 2012.

  • HNRS 4951 next semester.

  • From scholarship to art.

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Questions

Questions?


References

References

Kirchman, Milton. Mannerism and Imagination: A Reexamination of Sixteenth-Century Italian Aesthetic. Salzburg: InstitutfürAnglistikund Amerikanistik, 1979. Print.

Newcomb, Anthony. The Madrigal at Ferrara, 1579-1597. Princeton: Princeton University Press, 1980. Print.

Rowland, Daniel B. Mannerism – Style and Mood: An Anatomy of Four Works in Three Art Forms. New Haven: Yale University Press, 1964. Print.


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