caa a22 4500 386327491 CHVBK 20180307111658.0 cr unu---uuuuu 161130e198911 xx s 000 0 eng 10.1017/S0954586700003001 doi S0954586700003001 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700003001 McClary Susan Constructions of gender in Monteverdi's dramatic music [Elektronische Daten] [Susan McClary] One of the great accomplishments of seventeenth-century culture was the development of a vocabulary by means of which dramatic characters and actions could be delineated in music. The techniques for emotional and rhetorical inflection we now take for granted are not, in fact, natural or universal: they were deliberately formulated during this period for the purposes of music theatre. Monteverdi's descriptions of how he invented the semiotics of madness for La finta pazza Licori or of war for the Combattimento di Tancredi e Clorinda reveal how very self-consciously he designed methods for ‘representing' affective states. Copyright © Cambridge University Press 1989 Cambridge Opera Journal Cambridge University Press 1/3(1989-11), 203-223 0954-5867 1:3<203 1989 1 OPR https://doi.org/10.1017/S0954586700003001 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700003001 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- McClary Susan NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 1/3(1989-11), 203-223 0954-5867 1:3<203 1989 1 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge