Theorising Pastoral Song in the Italian Madrigal, 1600-1640

随着现代文明对本世纪岌岌可危的自然环境做出适应和回应，人类与自然的关系已经被不断地重新定义。在文学学术方面，这反映在对牧歌性质的研究日益频繁，导致衍生研究领域，包括后牧歌和反牧歌(见Gifford，2019；Entwistle，2011)。这与最近兴起的生态音乐学作为一门学科的兴起是平行的，在这门学科中，音乐与其自然环境的关系可能会被询问(例如Allen&Dawe，2016)。这些问题在整个历史上都有重要的共鸣；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考虑人与自然的关系，而从古代田园牧歌的复兴是这种文化认同在文学、艺术和音乐中被编纂的一种模式。本文立足于近来关于音乐与自然的表现关系的研究，包括生态音乐学的发展，通过其在意大利牧歌中的表现，重新审视了文艺复兴晚期田园文学的繁荣。目前这一领域的学术研究主要集中在巴蒂斯塔·瓜里尼的田园剧《菲多牧师》(如《科卢齐》，2023年)。其他研究田园音乐和音乐的学术研究要么强调其简洁性、田园主义，以及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(例如爱因斯坦，1948)，要么超越这些特征来确定音乐对该流派的反应中的悲情轨迹(例如Gerbino，2009)。我试图考察音乐对戏剧性的和抒情的田园诗的反应，超越Il牧师Fido，更广泛地将田园诗视为对自然的审美化，特别强调田园诗与17世纪初单调的发展。通过对田园诗在文艺复兴晚期抒情和戏剧音乐文本中的地位的分析，我将田园诗中假定的歌曲的自然性置于音乐的逼真性和早期歌剧的发展之中。在这方面，没有一部作品比巴蒂斯塔·瓜里尼的田园剧《牧师菲多》研究得更多。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--因此它与17世纪初音乐发展的互动--仍然有待澄清。虽然James Chater(1997)注意到作曲家如何从选择Il牧师Fido的文本过渡到那些需要有意识地参与表现其戏剧含义的文本，这些文本似乎已经准备好形成每首音乐的诗歌，但缺乏对复调牧歌之外的作品影响的研究。因此，通过对文学和音乐来源的批判性研究，我的目标是澄清牧歌文本和单调音乐发展之间的审美关系。在牧歌文本中，歌曲被当代理论家和作家视为一种生存状态(例如GiamBattista Doni，1635；Battista Guarini，1602)--单调音乐的发展将真正相似的演讲作为其主要目的。有些自相矛盾的是，尽管牧师菲多有戏剧性的倾向，但它并不受单调的早期倡导者的欢迎(卡特，1997)，我的目的是通过分析17世纪初田园诗在抒情诗和戏剧诗之间的位置来探讨这一悖论。在更广泛地将田园牧歌视为超越Il牧师菲多限制的对自然的审美化时，我的目的是澄清逼真和自然在牧歌中的表现的问题。在帮助厘清早期歌剧发展的同时，这项研究也将为当前的焦点提供平衡

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