Gary Tomlinson 
Monteverdi and the End of the Renaissance 

Combining a close study of Monteverdi’s secular works with recent research on late Renaissance history, Gary Tomlinson places the composer’s creative career in its broad cultural context and illuminates the state of Italian music, poetry, and ideology in the sixteenth and seventeenth centuries.

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Preface 

Introduction

1

Oppositions in Late-Renaissance Thought:Three Case Studies 

The Perfection of Musical Rhetoric

Youthful Imitatio and the First Discovery

of Tasso (Books I and II) 

3

Wert, Tasso, and the Heroic Style (Book III) 

4

Guarini and the Epigrammatic Style (Books III and IV) 

EXCURSUS 1

A Speculative Chronology

of the Madrigals of Books IV and V 

5

Guarini, Rinuccini, and the Ideal of Musical Speech 

EXCURSUS 2

The Reconciliation of Dramatic and Epigrammatic Rhetoric in the Sestina of Book VI 

The Emergence of New Ideals

6

Marino and the Musical Eclogue (Book VI) 

7

Marinism and the Madrigal, I (Book VII) 

8

Marinism and the Madrigal, II (Developments after Book VII) 

9

The Meeting of Petrarchan and Marinist Ideals (The Last Operas) 

The End of the Renaissance

10

Monteverdi and Italian Culture, 1550-1700 

Works Cited PAGE 

Index of Monteverdi’s Works and Their Texts 

General Index 

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Gary Tomlinson is Professor of Music at the University of Pennsylvania and a 1988 Mac Arthur Fellow.