TY - BOOK ID - 77904122 TI - Modal Subjectivities PY - 2004 SN - 0520929152 1597347574 9780520929159 PB - Berkeley DB - UniCat KW - Madrigals, Italian KW - Musical form KW - Music theory KW - Music and language. KW - Language and music KW - Language and languages KW - Music KW - Form, Musical KW - Italian madrigals KW - Madrigals (Music), Italian KW - Analysis, appreciation. KW - History KW - Theory KW - aesthetics. KW - affect. KW - amarilli. KW - archadelt. KW - choral music. KW - church music. KW - cipriano de rore. KW - ensemble music. KW - gender. KW - gesualdo. KW - guarini. KW - history. KW - human subjectivity. KW - identity. KW - interiority. KW - italian culture. KW - italy. KW - machiavelli. KW - madrigals. KW - marenzio. KW - michelangelo. KW - mirtillo. KW - monteverdi. KW - music history. KW - music theory. KW - music. KW - musica nova. KW - musical form. KW - musical grammar. KW - musical modes. KW - musicology. KW - nonfiction. KW - renaissance. KW - salome. KW - self fashioning. KW - self. KW - sexuality. KW - social history. KW - strauss. KW - verdelot. KW - wert. KW - willaert. KW - zarlino. UR - https://www.unicat.be/uniCat?func=search&query=sysid:77904122 AB - In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity. Modal Subjectivities covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520's through the tortured chromatic experiments of Carlo Gesualdo. Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself-the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises. ER -