Tomlinson 1981 NOTE: The other model for Baroque lament is the descending tetrachord aria type Monteverdi used in his “Lament of the Nymph” in Book 8 of his madrigals (1638), perhaps made most famous by Purcell in Dido’s lament. Tomlinson, Gary (1981). "Madrigal, Monody, and Monteverdi's 'via naturella immitatione'". Journal of the American Musicological Society. 34 (1): 60–108. doi:10.2307/831035. JSTOR831035.
McClary (1989). See page 215 for a discussion of Orfeo's lamentations in Monteverdi's opera Orfeo (1607). McClary, Susan (1989). "Constructions of gender in Monteverdi's dramatic music". Cambridge Opera Journal. 1 (3): 203–223. doi:10.1017/S0954586700003001. S2CID190692360.
Roger Freitas (2003) discusses the "erotically-charged" castrato in "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato. Freitas, Roger (2003). "The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato". The Journal of Musicology. 20 (2): 196–249. doi:10.1525/jm.2003.20.2.196.
Tomlinson 1981 NOTE: The other model for Baroque lament is the descending tetrachord aria type Monteverdi used in his “Lament of the Nymph” in Book 8 of his madrigals (1638), perhaps made most famous by Purcell in Dido’s lament. Tomlinson, Gary (1981). "Madrigal, Monody, and Monteverdi's 'via naturella immitatione'". Journal of the American Musicological Society. 34 (1): 60–108. doi:10.2307/831035. JSTOR831035.
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McClary (1989). See page 215 for a discussion of Orfeo's lamentations in Monteverdi's opera Orfeo (1607). McClary, Susan (1989). "Constructions of gender in Monteverdi's dramatic music". Cambridge Opera Journal. 1 (3): 203–223. doi:10.1017/S0954586700003001. S2CID190692360.
