2/20/2023 0 Comments Practica musica not respondingIt is as though the author, who has long been pondering, teaching, and writing about this material himself, had assembled his colleagues around a great, imaginary round table and engaged them individually and as a group in a wide-ranging dialogue, only one side of which, generally speaking, is audible to the reader. Most of these scholars are duly mentioned at one point or another in the book, but many of their ideas are embedded in the fabric of Carters arguments more frequently through implication rather than overt citation. Pirrotta is the only scholar so privileged by Carter, although there are indeed many others who have worked on Monteverdi in the thirty-five years since the publication of Pirrottas seminal article. 1 In this way, the entire work is, in effect, a dialogue with one of the pioneer scholars in the field, whose very definition of the issues established a frame for Carters own essays. Acknowledging that it was Nino Pirrotta who first explored some of these issues, he borrows Pirrottas phrase problems of opera for the title of his opening chapter and returns, at the end of the book, to compare and review his list of problems-examined in the nine intervening chapters-with those originally identified by Pirrotta. Reviewed by Barbara Russano Hanning *ġ.1 In this set of critical essays about Monteverdis theatrical works, Carter develops issues that, by his own declaration, have become the predominant focus of his work on music in early seventeenth-century Italy.
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