Monteverdi, Claudio Giovanni Antonio (1567-1643), Italian composer, the most important figure in the transition from Renaissance to baroque music.
Born in Cremona, he studied music with Veronese theoretician Marco Antonio Ingegneri. At the age of 15, Monteverdi composed his first work, a set of three-part motets, and by 1605 he had composed five books of madrigals. He became interested in the experimental musical dramas of Jacopo Peri, who was music director at the court of the Medici family, and in similar works by other early composers.
In 1607 Monteverdi's first musical drama, Orfeo, was produced. This opera, which surpassed all previous attempts at musical drama, was possibly the most important development in the history of opera and established it as a serious form of musical and dramatic expression. Through skillful use of vocal inflection, Monteverdi sought to express emotion as it would be expressed in the highly charged speech of a great actor. The orchestra, considerably enlarged and varied, was used not merely as an accompaniment for the singers but also to establish the moods of the various scenes. The score itself contains 14 independent orchestral pieces. The public received Orfeo enthusiastically, and with his next opera, Arianna (1608), Monteverdi's reputation as an opera composer was firmly established.
In 1613 he was appointed to one of the most important musical posts in Italy, choirmaster and conductor at Saint Mark's Cathedral in Venice. From this time on, Monteverdi wrote numerous operas many now lost , motets, madrigals, and masses. In his sixth, seventh, and eighth books of madrigals 1614-38 he moved away from the Renaissance ideal of equal-voiced polyphony toward the newer styles emphasizing melody, bass line, and harmonic support as well as personal, or dramatic, declamation. In 1637 the first public opera house was opened, and Monteverdi, stimulated by the enthusiastic response to opera, wrote a new series of operas, of which two remain, Il ritorno d'Ulisse in patria and L'incoronazione di Poppea (The Coronation of Poppaea, 1642).
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Antonio Vivaldi born on March 4th 1678, which was the Baroque music style. In 1678 not only was it the baroque period it was also the years just after the Renaissance. 1670s was part of the Age of Abolitionism. The Age of Absolutism was the age when European monarchs struggled to centralize their power. And in Britain the English Civil war and the glorious revolution happened a few years prior to Vivaldi's life. In Russia, Peter the Great and Catherine the great were reforming Europe and trying to improve it. Antonio lived until July 28th 1741, in his life the enlightenment happened, it was the age of reason, philosophy, and age of new music. Great music and composers came out of this era, Ludwig van Beethoven, Johann Bach, Frederic Chopin, George Handel, Wolfgang Mozart and many more composers. Also under this time ballets and operas became popular to the public. This was the time of the application of the Renaissance. Antonio Vivaldi had an interesting life during this time period, his childhood, his outstanding music and unique style, and influence were special for this time.
name was Gian-Carlo Minotti. This man was trained in the Italian Opera and he was
There are many Renaissance artists who had a large impact on what was then the
In an article in Musical Quarterly in 1999, Beth L. Glixon wrote that Strozzi was “the most prolific composer – man or woman – of printed secular vocal music in Venice in the middle of the 17th century”. In 1644, Strozzi published her first opus “the first work that I, as a woman, all too daringly bring to the light of day”. Dedicated to the Grand Duchess of Tuscany, these madrigals featured texts written by her father. Her remaining eight published collections appeared after Giulio Strozzi died in 1652, with some texts written by her father’s friends; others by herself. Almost all of her works were secular and most were written for a lyric soprano. They show her flexible mastery of musical form as she moved easily between cantatas, ariettas and duets. Her significant body of work included six volumes of cantatas, more than any other composer working in that genre at the time.
The Baroque time was filled with musical geniuses. People like Franz Josef Haydn, George Frideric Handel, and Claudio Monteverdi. All of these people were amazing when holding an instrument, sitting at a piano, or writing on manuscript paper, but the finished products were and always will be superb. Johann Sebastian Bach and Antonio Vivaldi were among these musical prodigies.
The need to re-establish the musical standards arose because the musical standard had deteriorated due to the financial negligence of his predecessor, Giulio Cesare Martinengo. As music had been waning since Giovanni Croce died in 1609, after Monteverdi joined, the managers of the basilica were reassured to have an eminent musician in charge.Monteverdi became a priest in 1632. He composed two of his masterpieces during the later years of his life. These works of genius were ‘Il ritorno d'Ulisse’ in patria (The Return of Ulysses, 1641), and the historic opera ‘L'incoronazione di Poppea’ (The Coronation of Poppea, 1642) which were based on the life of the Roman emperor Nero. ‘L'incoronazione’ is believed as the apex of Monteverdi's works as it comprises of romantic, tragic and comic scenes, considered as an innovative development in opera. He showcased a more practical depiction of the characters and warmer pieces of music than ever heard earlier. His musical compositions needed a smaller orchestra and were less significant for the choir. Initially, Monteverdi's operas were only considered as a mere historical or musical interest. It was since the 1960s; ‘L'incoronazione di Poppea’ was included in the collection of foremost opera
Egypt’s culture was one of the most diverse and religious cultures of its time. Much of early Egyptian culture was based around the flooding of the Nile and the nutrients it brought for them to farm. The river was their oasis in the middle of one of the harshest environments. It was this that helped them to become a very hardened and capable society that could withstand the tests of time. Their religion also reflected their hard steadfastness since it was of their own creation. Other than a few of the well known gods of creation each village and town in Egypt had a different set of gods. With each place having the freedom to do what they wanted with the religion they could “personalize” it to suit their individual needs. Egyptian people realized that they were not perfect, this fact is clearly represented in their religion and mythology. It was also seen in their religious art, such as on the walls of pyramids, that they believed that the deceased would be judged in the afterlife for what they did. This judgment would dictate wether or not they wo...
Ratios traditionally measure the most important factors such as liquidity, solvency and profitability, as well as other measures of solvency. Different studies have found various ratios to be the most efficient indicators of solvency. Studies of ratio analysis began in the 1930’s, with several studies of the concluding that firms with the potential to file bankruptcy all exhibited different ratios than those companies that were financially sound.
Claudio Monteverdi was born (1567¬¬¬¬¬-1643) in Cremona (northern Italy) , and baptized on May 15, 1567; which is relevant, later influencing his career as maestro di cappella (director of music) at the Basilica of San Marco in Venice. Monteverdi was known as the most diverse composer of the Renaissance and Baroque era, because of his mastery in the prima Prattica and Seconda Prattica. Prima Prattica (first practice) refers to the early baroque music of two or more simultaneous voices with equal importance otherwise known as polyphony, and mostly viewed in the style of Palestrina, transitioning into and Seconda Prattica (second practice) a more soloist vocal practice style, virtuosic, and individualized form of music.
The ratios returns on investment (ROI) and return on equity (ROE) are two of the most popular measure of profitability of a company and, along with the P/E ratio, have the most significant value of any of the ratios. The DuPont Model expands on the ROI calculation by inserting sales and it's relationship to the companies' generation of profits and utilization of assets into the calculation. Additional profitability ratios include the price earnings ratio (P/E), the dividend payout and the dividend yield. The price earnings ratio helps to indicate to investor how expensive the shares of common stock of a firm are. Dividend yield is part of the stockholders ROI and is represented by the annual cash dividend. Dividend yields have historically been between 3% to 6% for common stock and 5% to 8% for preferred stock. Dividend payout ratio shows the proportion of the earnings paid to common shareholders. Dividend payout for manufacturing companies range from 30% to 50%, but can vary widely.
Monteverdi’s work will be remembered as revolutionary as well as somewhat radical for his time. He continued to stay true to many of the previous methods such as counterpoint, but changed many things and searched for ways to express the lyrical content better than before. His attraction to the Madrigal is a good example of his ability to do this, displayed in his nine books. Word phrases and expressive moods were also shown in his Operas where he told longer stories of love and ancient tales. In every style that Monteverdi wrote it, he will be remembered as a composer who was true to foundational principles of the old styles, but took daring steps to form new sounds that would influence future artwork.
Ratios analysis also makes possible comparison of the performance of different divisions of the firm. The ratios are helpful in deciding about their efficiency or otherwise in the past and likely performance in the future.