出版社：Serbian Academy of Sciences and Arts - Institute of Musicology
摘要：In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. The possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Thanatos and Eros. The creative act of the troping of elegy proved to be an effective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. The elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonettas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. The aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch’s, Torquato Tasso’s, and Battista Gurini’s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177019: Identities of Serbian Music in the World Cultural Context]
关键词：renaissance; melancholia; elegy; madrigal; troping; transcendence of death
