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Full-Text Articles in Ancient, Medieval, Renaissance and Baroque Art and Architecture

Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’, Kevin Brownlee Dec 2018

Music And The Act Of Song In Dante’S ‘Purgatorio’ And ‘Paradiso’, Kevin Brownlee

Bibliotheca Dantesca: Journal of Dante Studies

The present paper explores the relation between the vernacular words used to designate the Act of Song, and the inscribed texts of the Sung Music itself, by considering a set of key cases first in Purgatory and then in Paradise. It focuses on important moments of structural and literary transition, at the same time as showing how sung sacred texts relate to each other (and to other kinds of passages) in important functional ways. I examine how song works in five key moments of the protagonist’s journey: the exit from the final terrace of the Purgatorial mountain, and the ...


Dante, Liszt, And The Alienated Agony Of Hell, Tekla Babyak Dec 2018

Dante, Liszt, And The Alienated Agony Of Hell, Tekla Babyak

Bibliotheca Dantesca: Journal of Dante Studies

Dante Alighieri’s Inferno portrays Hell as an alienated realm in which the doomed spirits must spend eternity in isolation and regret. The Hungarian composer Franz Liszt (1811–1886) responded to this work with his Dante Symphony (1857) based on the Inferno and Purgatorio, in which he gave musical form to Dante’s textual expressions of agony. Throughout this two-movement work, Liszt offers a musical translation of the theological and emotional world portrayed in Dante’s Divina Commedia. This article examines Liszt’s evocations of silence, memory, regret, and redemption in the Dante Symphony. These evocations are enhanced by Liszt ...


Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’, Maria Ann Roglieri Dec 2018

Nineteenth- And Twentieth-Century Musical Adaptations Of Dante’S ‘Commedia’: ‘Dante’S Greatest Hits’, Maria Ann Roglieri

Bibliotheca Dantesca: Journal of Dante Studies

Composers through the centuries have tried to depict Dante’s Commedia in music, using Dante’s verses, characters, and design for Hell, Purgatory, and Heaven, and their compositions. This paper looks at some of the trends in musical adaptations of the Commedia and also some of the “greatest hits”—in the author’s opinion. Works by James Norton, Patric Standford, Jacob ter Veldhuis, David Denniston, Franz Liszt, Donald Martino, Tod Machover, Anita Saij, Allik and Mulder, and Theodore Wiprud are discussed.


Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell, Jess Tyre Dec 2018

Conversations With Francesca: Tchaikovsky, Liszt, And Wagner (And Zandonai And Granados And Rachmaninov) Go To Hell, Jess Tyre

Bibliotheca Dantesca: Journal of Dante Studies

Tchaikovsky completed his tone poem Francesca da Rimini in 1876, during the period he was attending the premiere of Wagner’s Ring Cycle at Bayreuth. Critics of the work drew comparisons with the Tetralogy and faulted what seemed to be Tchaikovsky’s derivative inspiration. Indeed, the composer him-self acknowledged Wagner’s influence. In this paper, I set aside influence to consider intertextual dialogues between Tchaikovsky’s work and others by Liszt, Zandonai, Rachmaninov, and not Wagner’s Ring, but Tristan und Isolde. Drawing upon theories by Klein and Peirce, I examine parallelisms of topic, melodic contour, tonal motion, and timbral ...


Singing For Dante In ‘Purgatorio’ 30–31, Helena Phillips-Robins Dec 2018

Singing For Dante In ‘Purgatorio’ 30–31, Helena Phillips-Robins

Bibliotheca Dantesca: Journal of Dante Studies

This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia ...


“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’, Francesco Ciabattoni Dec 2018

“Temprando Col Dolce L’Acerbo”: Instrumental And Vocal Polyphony In The ‘Commedia’, Francesco Ciabattoni

Bibliotheca Dantesca: Journal of Dante Studies

This essay tracks the historical-musicological context of the lemma “organi” / “organo” as it appears in Purg. 9.144 and Par. 17.44. Drawing from medieval treatises and monks’ descriptions such as Raban Maur, Notkerus Balbulus, Baldric of Dol, Aelred of Rievaulx, and Wulstan, the author uses intertextual evidence to show that Purg. 9.144 (“quando a cantar con organi si stea”) evokes a great pipe organ as was found in some medieval churches. The essay also argues that Par. 17.43–44 (“come viene ad orecchia / dolce armonia da organo”) should be understood as a polyphonic organum that serves the ...


Ironizing Ugolino, David Heinsen Dec 2018

Ironizing Ugolino, David Heinsen

Bibliotheca Dantesca: Journal of Dante Studies

This article analyzes an adaptation of Canto 33 of the Inferno, a musical setting of Count Ugolino composed by Gaetano Donizetti (1828). The composition is first presented within the frame of its contemporaneous aesthetic, one that treats Ugolino as a pathos-inspired tale of human suffering. Donizetti’s composition, however, fails to align itself to this tragic reading due to structural contradictions that prevent the listener from sympathizing with the musical agent. To address this divergence, the article extends the most recent theories of musical narrative by Byron Almén and Michael Klein to propose an ironic reading of the work, essentially ...


La Biblioteca Medicea Laurenziana: Hope Within The Inferno Of A Tormented Man's Mind, Alyssa Grace James Jan 2015

La Biblioteca Medicea Laurenziana: Hope Within The Inferno Of A Tormented Man's Mind, Alyssa Grace James

Undergraduate Honors Theses

Michelangelo Buonarroti is an immediately striking figure within history. His talent seemingly had no end, as he stretched from sculpture to architecture and everything in between. The works he created were beautiful and captivating, capturing the imagination of his contemporaries and modern viewers alike. However, the desire to simply label him as a genius is a gross underrepresentation of this human. Manifold influences contributed to his achievements, and he cannot be fully appreciated until these underlying influences are understood.

This thesis began in response to a question that arose the first time I viewed the Laurentian Library. I noticed the ...


Visual Culture Of Baptism In The Middle Ages: Essays On Medieval Fonts, Settings And Beliefs, Harriet Sonne De Torrens, Miguel Torrens Aug 2013

Visual Culture Of Baptism In The Middle Ages: Essays On Medieval Fonts, Settings And Beliefs, Harriet Sonne De Torrens, Miguel Torrens

Harriet M Sonne de Torrens Dr.

Under the guidance of the leading experts on baptismal fonts and the co-directors of the Baptisteria Sacra Index, the world’s only iconographical inventory of baptismal fonts, a research project at the University of Toronto, this collection of essays by a group of European and North American scholars extends the traditional boundaries associated with the study of baptismal fonts. The ‘visual’ is privileged, whether it is in the metaphysical, literary or empirical realms of scholarship, offering a rich understanding of the powerful role of baptism played in medieval and renaissance society. In the quest for a holistic understanding of the ...


Masterpieces Of Italian Literature In Translation, Silvia Valisa Jan 2010

Masterpieces Of Italian Literature In Translation, Silvia Valisa

Silvia Valisa

No abstract provided.