Theorising Pastoral Song in the Italian Madrigal, 1600-1640

随着现代文明适应和回应本世纪自然环境的不稳定，人类与自然的关系已经成为不断重新定义的对象。在文学研究中，这反映在对田园性质的研究越来越频繁，导致衍生研究领域包括后田园和反田园（见Gifford, 2019; Entwistle, 2011）。这与最近兴起的生态音乐学作为一门学科是平行的，在这门学科中，音乐与自然环境的关系可能会受到质疑（例如Allen & Dawe， 2016）。这些问题在历史上有着重要的共鸣；特别是，文艺复兴时期人文主义的兴起促使人们从根本上重新思考人与自然的关系，古代田园音乐的复兴是一种模式，通过这种模式，这种文化身份被编纂在文学、艺术和音乐中。在最近研究音乐与自然的表征关系（包括生态音乐学的发展）的基础上，本论文通过意大利牧歌的表征重新考虑了文艺复兴后期田园文学的繁荣。目前这一领域的学术研究主要集中在巴蒂斯塔·瓜里尼的田园戏剧《牧者菲多》（如《科鲁齐》；2023年）。其他研究田园音乐的学者要么强调其简单性、田园诗般的概念，要么强调这些特征在音乐实践中的常规化，特别是在作曲家采用canzonetta风格时（例如Einstein， 1948），或者超越这些特征，在音乐对该类型的反应中确定悲情的轨迹（例如Gerbino， 2009）。我试图研究戏剧和抒情田园诗的音乐反应，超越Il pastor fido，更广泛地考虑田园诗作为自然的审美化，特别强调田园诗与17世纪早期monody发展的联系。通过对文艺复兴后期抒情和戏剧音乐文本中田园诗的地位的分析，我将田园诗中歌曲的假定自然性置于音乐的逼真性和早期歌剧的发展中。在这方面，没有任何一部作品比巴蒂斯塔·瓜里尼的田园剧《牧者菲多》得到更多的研究。然而，尽管这部作品很受欢迎，但它作为一部戏剧作品的空间——以及它与17世纪早期音乐发展的相互作用——仍然有待澄清。虽然James Chater（1997）已经注意到作曲家是如何从选择Il pastor fido的文本（这些文本似乎已经形成为poesia per musica（音乐诗歌））过渡到那些需要有意识地参与其戏剧含义的表现的文本，但对复调牧歌领域之外的作品含义的研究是缺乏的。因此，通过对文学和音乐来源的批判性研究，我的目标是澄清田园文本之间的美学关系——其中歌曲被当代理论家和作家视为一种存在状态（例如，Giambattista Doni， 1635年；Battista Guarini， 1602年）——以及monody的音乐发展，它将与歌曲相似的演讲作为其主要目标。有点矛盾的是，尽管《牧歌》具有戏剧性的方向，但它并不受早期monody拥护者的欢迎（Carter, 1997），我的目的是通过分析17世纪早期牧歌在抒情诗和戏剧诗之间的地位来研究这一悖论。在将田园牧歌更广泛地视为超越Il pastor fido限制的自然审美化时，我的目标是澄清牧歌中真实性和自然表现的问题。在帮助厘清早期歌剧发展的同时，本研究也将为当前的研究重点提供一个平衡

As modern civilisation adapts and responds to the precarious place of the natural environment in this century, humanity's relationship with nature has become subject to constant redefinition. In literary scholarship, this has been reflected in research on the nature of pastoral become increasingly frequent, resulting in derivative areas of study including post-pastoral and anti-pastoral (see Gifford, 2019; Entwistle, 2011). This has been paralleled with the recent rise of Ecomusicology as a discipline in which music's relationship with its natural environment may be interrogated (e.g. Allen & Dawe, 2016). These issues have importance resonances throughout history; in particular, the rise of humanism in the Renaissance had prompted a fundamental reconsideration of the relationship between man and nature, and the revival of pastoral from Antiquity was one mode through which this cultural identity was codified in literature, art, and music. Building on recent work which considers music's representational relationship with nature, including developments in Ecomusicology, this dissertation reconsiders the flourishing of pastoral literature in the late Renaissance through its representations in the Italian madrigal. Current scholarship in this area tends to centre on Battista Guarini's pastoral drama Il pastor fido (e.g. Coluzzi; 2023). Other scholarship which has examined pastoral and music has either emphasised notions of its simplicity, its idyllicism, and the conventionalisation of these characteristics in musical practice, particularly in composers' adoption of the style of the canzonetta (e.g. Einstein, 1948), or looked beyond these characterisations to identify a locus of pathos in musical responses to the genre (e.g. Gerbino, 2009). I attempt to examine musical responses to both dramatic and lyric pastoral poetry, looking beyond Il pastor fido and considering pastoral more broadly as an aestheticisation of nature, with a specific emphasis on pastoral's association with the development of monody in the early seventeenth century. Through an analysis of pastoral's place within lyric and dramatic musical texts of the late renaissance, I place the supposed naturalness of song in pastoral poetry within the approach of verisimilitude in music and the development of early opera. No single work has been studied more in this respect that Battista Guarini's pastoral drama Il pastor fido. And yet, despite the work's popularity, its space as a dramatic work - and therefore its interaction with the musical developments of the early seventeenth-century - still remains to be clarified. While James Chater (1997) has noted how composers transitioned from selecting texts from Il pastor fido which appeared ready formed as poesia per musica (poetry for music), towards those which required a conscious engagement with the representation of their dramatic implications, study of the work's implications outside the realm of the polyphonic madrigal is lacking. Through the critical study of literary and musical sources, I therefore aim to clarify the aesthetic relationship between pastoral texts - in which song was seen by contemporary theorists and authors as an existential condition (e.g. Giambattista Doni, 1635; and Battista Guarini, 1602) - and the musical development of monody, which placed the verisimilar delivery of speech as song as its primary aim. Somewhat paradoxically, despite its dramatic orientation Il pastor fido was not popular with early exponents of monody (Carter, 1997), and I aim to investigate this paradox through an analysis of pastoral's place between lyric and dramatic poetry in the early seventeenth century. In considering pastoral more broadly as an aestheticisation of nature beyond the limits of Il pastor fido, I aim to clarify issues of verisimilitude and of nature's representation in the madrigal. While helping clarify the development of early opera, this research will also provide a balance to the current focu