Word, Image, and Song, Vol. 1

ANDREW H. WEAVER is Professor of Musicology at The Catholic University of America, Washington, DC.

• Maria Cavalli, Copyist and Teacher - Jennifer Williams BrownIl ritorno di Poppea: A New German Source Provokes Some New Thoughts-and Old Arguments - Alan CurtisAn Unreported Mantuan Libretto from 1623 - Gary TomlinsonThe Triumph of Inconstancy: The Vicissitudes of a Seventeenth-Century Libretto - Beth Glixon and Jonathan E. GlixonA Letter on Benedetto Ferrari, "Eccellentissimo sonator di tiorba" - Dinko FabrisRecordings of Music Written for St. Mark's: An Architectural Historian's View - Deborah HowardThe Twenty-Two Steps: Clef Anomalies or "Basso alla bastarda" in Mid-Seventeenth-Century Italian Opera - Alvaro Torrente"Indarno chiedi": Clorinda and the Interpretation of Monteverdi's Combattimento - Suzanne G. CusickThe Veil, the Mask, and the Eunuch: Sight, Sound, and Imperial Erotics in L'incoronazione di Poppea - Wendy HellerBaciami, Claudio: Psychological Depth and Carnal Desire in the Marino Settings of Monteverdi's Book Seven - Andrew H. WeaverPowerless Spirit: Echo on the Musical Stage of the Late Renaissance - Barbara Russano HanningExcavating Virgil in Counter-Reformation Rome: Domenico Mazzocchi's Dialoghi Based on the Aeneid - Susan Parker ShimpMusic as a Fonte della varietà: Sforza Pallavicino on the Aria 233Robert R. Holzer - Robert R. HolzerGiambattista Marino's Operatic Aesthetics - Giuseppe MazzottaStrophic Form in the Canzonettas of Orazio Vecchi, Luca Marenzio, and Claudio Monteverdi - Ruth I. DeFordCantar ottave, cantar storie - Margaret MurataDramatizing Discourse in Seventeenth-Century Opera: Music as Illocutionary Force in Francesco Cavalli's Giasone (1649) - Mauro CalcagnoIncitamentum amoris musica [picta] - Prof David RosandSelected BibliographyList of ContributorsIndex

Almost every essay is rooted in seventeenth-century Venice. Nonetheless, the editors have achieved what amounts to a landmark collection of scholarly commentary on the compositional, spatial, visual, hermeneutic, and socio-political power of musical drama in this period. will appeal to scholars across a wide array of disciplines. Encourages a keen reconsideration of documentary sources and the stratified ways in which they can be read, . . . combining empirical analysis with a keen cultural and humanistic perspective. [Cusick's chapter] engages the reader in an old musicological topic made fresh by means of a compelling methodological framework.