1) Chapter 21: The Renaissance in Quattrocento Italy a. The Early Renaissance in Italy (1400-1500) 2) Chapter 22: Renaissance and Mannerism in Cinquecento Italy a. The High and Late Renaissance in Italy (1500-1600) 3) Chapter 20: Late Medieval And Early Renaissance Northern Europe a. The Renaissance in Northern Europe in the 15th century 4) Chapter 23: High Renaissance and Mannerism in Northern Europe and Spain a. The Renaissance in Northern Europe in the 16th century 5) Chapter 24: The Baroque
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moods/affects Older & newer styles (ie. baroque/pre-(or proto-)classical) Galant style Opera reform (1730s) Metastasio Opera seria aria types (as given here) Pasticcio Insertion aria/suitcase aria Coloratura Cadenza Bravura aria Pier Francesco Tosi Recitativo semplice (secco)/ recitativo accompagnato 5-section da capo aria (Metastasio/Hasse) Week 7/Chapter 14. Jean Philippe Rameau Opéra comique Opera reform (1760s) Ranieri de Calzabigi Azione teatrale Week 8/Chapter 15-16
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There are many monumental eras throughout musical history. The Baroque musical period dates from the end of the Renaissance era‚ approximately 1600 to the beginning of the Classical music era‚ around 1750. The baroque musical era is notable for many changes in the arts including the development of the opera and the castrato. The castrato‚ introduced to the society during the 16th century‚ famously known for their male sopranos with voices of great range‚ flexibility and power. Also
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One of the highest and somewhat basic ranked knowledge that professional musicians have to know are the: Italian‚ French‚ German‚ and Neapolitan chords. The augmented sixth chords have fascinated composers for centuries‚ they have been used for centuries until today’s modern/popular music‚ while the Neapolitan sixth chord has a very distinct sound that creates a different feeling in the chord progression‚ it has also been used in today’s popular music. This chords typically have a predominant function
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Development of Sonnets The development of the sonnet form was originally made as a love poem by the Renaissance Italian poet‚ Francesco Petrarch. It is always the case with immortal writers that they invent forms in response to their strong need to express ideas and emotions for which they cannot find an existing form. Petrarch had an overwhelming need for a new way of expressing the various aspects of his love for his Laura. He adapted a mediaeval song form to his purpose and
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Vecellio) by Josh Palmer October 18‚ 2012 History 101 Tiziano Vecellio was born at Pieve di Cadore in the Alps north of Venice around 1490 A.D. He became known in english as Titian. At the age of ten Titian’s father sent him and his brother Francesco to Venice where they were to study painting at Sebastiano Zuccato’s workshop. After a short time at Sebastiano Zuccato’s workshop Titian decided to leave‚ while his brother stayed at the workshop to study painting. After leaving the workshop Titian
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The Prince was written in the 1500’s by Niccolo Machiavelli‚ whom name became a synonym for crafty plotting. As noted‚ it is a political and social document‚ as relevant today as when it first appeared. Machiavelli’s work became thought of as a blueprint for dictators instead of a guide for efficient democratic government. The Prince does not give us all of Machiavelli’s political thinking; however‚ he devised this reading for the man who seeks power. It treated the most severe problem of Italy
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I have chosen the Mona Lisa to analyze. The portrait of Mona Lisa is also known as La Giocondo‚ she was the wife of Francesco del Giocondo. This painting was done in oil paints on poplar wood by Leonardo da Vinci from the year 1503 to 1506. The dimensions of this painting are 76.2 x 53.3 cm. The painting is now in the Musee du Louvre in Paris. The Mona Lisa is a painting of a woman‚ dressed in a dark green dress with her hands overlapping. The background of the painting is a mountainous landscape
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that sin corrupts humans‚ requiring God’s grace to give moral guidance. The theodicy was criticised by Augustine’s contemporary‚ Fortunatus‚ a Manichaean who contended that God must still be implicated in evil‚ and eighteenth-century theologian Francesco Antonio Zaccaria criticised Augustine’s concept of evil for not dealing with human suffering. Twentieth-century philosopher John Hick presented an
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in Urbino. Since her husband was a prominent condottiere‚ he was frequently absent‚ so Sfortza was respected for governing the state “with firmness and good sense.” Another woman that was part of the Renaissance was Isabella d’Este‚ the wife of Francesco Gonzaga‚ marquis of Mantua. She was referred to as the “first lady of the world.” Known for her intelligence and political wisdom‚ she attracted intellectuals and artists to the Mantuan court‚ as well as held the responsibility of amassing one of
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