MSGSÜ Sosyal Bilimler 1309-4815 2822-6852 Mimar Sinan Guzel Sanatlar university Understanding Opera’s Predecessor Madrigal Comedy and an Analysis of Adriano Banchieri’s Il Zabaione Musicale Understanding Opera’s Predecessor Madrigal Comedy and an Analysis of Adriano Banchieri’s Il Zabaione Musicale Gencer Ali Yunus MİMAR SİNAN GÜZEL SANATLAR ÜNİVERSİTESİ, İSTANBUL DEVLET KONSERVATUVARI, MÜZİK BÖLÜMÜ, BESTECİLİK VE ORKESTRA ŞEFLİĞİ PR. 11 01 2021 2 24 627 644 08 23 2021 10 05 2021 Copyright © 2010, MSGSÜ Sosyal Bilimler 2010 MSGSÜ Sosyal Bilimler

Madrigal comedy stands at the zenith of compositional procedures in the Renaissance. It indicated a new approach to the interdisciplinary consolidation of theatre and music which would soon give birth to opera. During its relatively short lifespan within the immensely long history of music, madrigal comedy gradually became a prominent type of entertainment music in Italy. Important figures of the late Renaissance such as Banchieri, Croce, and Vecchi composed madrigal comedies and proposed their own solutions to the problems of merging music with drama. Apart from his madrigal comedies, Banchieri was one of the first composers to write definite rules for figured bass and the one of the earliest to utilize dynamic markings on a musical score. This essay initially evaluates the history of madrigal comedy and the career of Banchieri. Then it continues with a theoretical analysis of his Il Zabaione Musicale. Lastly, it discusses the findings regarding both the genre and the piece.

Madrigal comedy stands at the zenith of compositional procedures in the Renaissance. It indicated a new approach to the interdisciplinary consolidation of theatre and music which would soon give birth to opera. During its relatively short lifespan within the immensely long history of music, madrigal comedy gradually became a prominent type of entertainment music in Italy. Important figures of the late Renaissance such as Banchieri, Croce, and Vecchi composed madrigal comedies and proposed their own solutions to the problems of merging music with drama. Apart from his madrigal comedies, Banchieri was one of the first composers to write definite rules for figured bass and the one of the earliest to utilize dynamic markings on a musical score. This essay initially evaluates the history of madrigal comedy and the career of Banchieri. Then it continues with a theoretical analysis of his Il Zabaione Musicale. Lastly, it discusses the findings regarding both the genre and the piece.

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