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

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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  1. 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

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

  3. Research Questions • What defines Mannerist art, and distinguishes it from Renaissance art? • How was political life structured during Gesualdo’s life (1566-1613)? paradoxplace.com

  4. Research Questions Continued • What philosophical and aesthetic considerations informed Gesualdo’s compositions? • How did Gesualdo’s social standing and political obligations influence his work? http://icking-music-archive.org

  5. 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).

  6. Literature Review Continued • Gesualdo’s compositions were different. They denied his audience a modal center. • Gesualdo’swork emphasized inaccessibility and irresolution (Rowland 43).

  7. 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).

  8. 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).

  9. 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.

  10. 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. barnesandnoble.com

  11. Questions?

  12. 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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