Biagio Marini and the
Meanings of Violin Music in the Early Seicento
A Dissertation
Presented to the Faculty of the Graduate School
of
Yale University
in Candidacy for the Degree of
Doctor of Philosophy
by
Rebecca Schaefer Cypess
Dissertation Director: Dr. Ellen Rosand
May, 2008
UMI Number: 3317261
Copyright 2008 by
Cypess, Rebecca Schaefer
All rights reserved.
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Acknowledgements
I would like to offer my thanks to several people without whom this dissertation
could not have been completed. First, Ellen Rosand has been enormously supportive
through the duration of this project, offering advice, reading and editing drafts, providing
honest responses, and teaching me how to write. Robert Holzer, too, was of great help in
tracking down citations, translating difficult passages of poetry, and making suggestions
about the course of the project. I owe a particular debt to Craig Wright, who has
suggested ways in which my work might proceed in the future. Leon Plantinga, James
Hepokoski, and Patrick McCreless have been tireless advocates and offered their
kindness at many turns. My fellow graduate students provided ample feedback as well; in
particular I'd like to thank Eric Bianchi, Sarah Van der Laan, Rebecca Tinio, Nathan
Link, Pietro Moretti, Laura Weber, Angela Boerger, Paul Berry, Sarah Clemmens, Seth
Monahan, and Cara Pickett. My professors at Cornell—especially Neal Zaslaw, James
Webster, Rebecca Harris-Warrick, and Malcolm Bilson—have continued to be helpful
mentors and friends after my departure from Ithaca. I also thank Donald Irving, my high
school music teacher, who set me on this path years ago.
My parents, Drs. David and Roberta Schaefer, to whom this dissertation is
dedicated, have seen me through 26 years of education, making great personal sacrifices
to ensure that I received every possible academic advantage. They have also been my
strongest supporters. Like all children, I have no way of repaying them for all that they
have given me, so the dedication of this work is merely a token. My grandparents, Zina
and Murray Schaefer and Celia and Maurice Rubel, always met my enthusiasm for music
with equal excitement. My sister Naomi, whose sharp mind and loving temperament
enhanced my early education in life and academe, has continued to be a friend and help
in our adult years. My parents-in-law, Drs. Raymond and Sandra Cypess, have made
generous sacrifices on my behalf as well, offering advice on research-related matters, and
most notably by offering their time and energy babysitting when I had conferences or
work to attend to.
I would like to note how fortunate I feel to have role models in three women—my
mother, my mother-in-law, and my adviser—who earned their doctorates and were
pioneers in their fields when women did not do such things.
Finally, to my husband, Rabbi Joshua Cypess, and our two adorable children,
Benjamin Mordechai and Joseph Moshe Eliezer: thank you. I am grateful for the joy,
patience, and unconditional love that the three of you have brought into our house. May
we go from strength to strength.
To my parents,
Drs. David and Roberta Schaefer,
with thanks
A Note on Style
Throughout this dissertation, the following conventions of style have been adopted:
1. Formatting generally follows the Chicago Manual of Style (fifteenth edition).
2. In titles of books, articles, and musical compositions in Italian, French, and
Spanish, only the first letter of the first word is capitalized
3. Titles of musical compositions have been capitalized, but genres have not. Thus
the "Sonata variata" uses a capital letter, but non-specific use of the term "sonata"
does not. The first word of the "Romanesca per violino solo" is capitalized, but
reference to the romanesca progression in general is not.
4. Musical examples have been transcribed in modern clefs. Original beamings have
been retained, but bar-lines have been introduced in some cases for ease of
reading.
5. Note names have been italicized; references to key signatures have not.
Table of Contents
Introduction
The Paradox of Instrumental Music
I. The Ritual and the Fictional in Music
II. The Search for Meaning in Instrumental Music of the Seicento
1
6
10
Part I: Challenging the Conventions of Vocal Music
Chapter One
Marini's Affetti musicali (1617) and the
Performance of Instrumental Music in the Early Seicento
17
I. Theories of Musical Patronage
19
II. The Violin from Professional to Amateur Instrument
26
III. Evidence for the Amateur Status of the Violin from Marini's Opus 3
31
IV. The Development of the Violin the Sixteenth and Seventeenth Centuries 36
V. The Giunti as Arbiters of Musical Taste
43
VI. Evidence from Print Culture Concerning the Dissemination of Instrumental
Music
47
VII. Analysis of the Affetti musicali
54
VIII. The Affetti musicali as an Agent in the Spread of the Violin among
Amateurs
71
Chapter Two
Marini's Madrigali et symfonie (1618):
Challenging the Narrative Sequence
I. Petrarch's Rerum vulgarium fragmenta as a Model for Volumes of Music
II. The Vocal Portion of the Madrigali et symfonie: A Nod to the
Lyric Sequence?
III. Coherence in the Instrumental Portion of the Madrigali et symfonie
IV. The Abandonment of Narrative
73
78
85
104
126
Part II: Adopting the Conventions of Vocal Music
Chapter Three
Recognition, Narrative, and
Marini's Romanesca for Solo Violin (1620)
I. Ambiguity in the Romanesca Progression
132
136
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