Barbara Russano Hanning is Professor Emeritus of Music at The City College of New York (CCNY) and the City University Graduate Center (CUNY) and has also taught in the DMA program of The Juilliard School. She wrote a book on the beginnings of opera and articles on sixteenth- and seventeenth-century Italian secular music, music iconography, and eighteenth-century French subjects. She also authored a college textbook, Concise History of Western Music, currently in its fifth edition (2019). A past president of the Society for Seventeenth-Century Music, she currently serves on the Board of the NY-based early music ensemble ARTEK.

• IntroductionPart I: Music and Words1. Opera Is Born: The Wedding of Music and Drama in Late Renaissance FlorenceOriginally published in The Cambridge Companion to Seventeenth-Century Opera, ed. Jacqueline Waeber. Cambridge and New York: Cambridge University Press, 2023, 3–21.2. Music and the Arts [in the Seventeenth Century]Originally published in The Cambridge History of Seventeenth-Century Music, eds. Tim Carter and John Butt. Cambridge and New York: Cambridge University Press, 2005, 111–31.3. Music in Italy on the Brink of the BaroqueOriginally published in Renaissance Quarterly 37 no. 1 (Spring 1984) 1–20.4. Apologia pro Ottavio RinucciniOriginally published in the Journal of the American Musicological Society 26 no. 2 (1973) 240--62.5. The Ending of L’Orfeo: Father, Son, and RinucciniOriginally published in the Journal of Seventeenth-Century Music 9/1 (2003)https://sscm-jscm.org6. Powerless Spirit: Echo as a Trope on the Musical Stage of the Late RenaissanceOriginally published in Word, Music, and Song: Essays on Early Modern Italy, 2 vols., edited by Rebecca Cypress, Beth L. Glixon, and Nathan Link (Rochester, NY: University of Rochester Press, 2013) I: 193–218.7. Monteverdi’s Three Genera: A Study in TerminologyOriginally published in Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning. Festschrift Series No. 11 (Stuyvesant, NY: Pendragon Press, 1992) 145–70.8. Tasso and the Italian MadrigalOriginally published in Teaching the Italian Renaissance Romance Epic, ed. Jo Ann Cavallo (New York: Modern Language Association of America, 2018) 271–79.9. Love’s New Voice: Italian Monodic SongOriginally published in The World of Baroque Music, New Perspectives, ed. George Stauffer (Bloomington, IN: Indiana University Press, 2006) 25–47.Part II: Music and Images10. Some Images of Monody in the Early BaroqueOriginally published in Con che soavità: Studies in Italian Opera, Song, and Dance, 1580–1740, edited by Iain Fenlon and Tim Carter (Oxford: Clarendon Press, 1995) 1–12.11. Glorious Apollo: Poetic and Political Themes in the First OperaOriginally published in Renaissance Quarterly 32, no. 4 (Winter 1979) 485—513.12. From Saint to Muse: Representations of Saint Cecilia in FlorenceOriginally published in Music in Art (International Journal for Music Iconography) 29,nos. 1–2 (Spring/Fall 2004) 91–103.13. The Iconography of a Salon Concert: A ReappraisalOriginally published in French Musical Thought, 1600–1800, ed. Georgia Cowart (AnnArbor and London: UMI Research Press, 1989) 129–48.14. Conversation and Musical Style in the Late Eighteenth-Century Parisian SalonOriginally published in Eighteenth-Century Studies 22, no. 4 (Summer 1989) 512—528.

Barbara Russano Hanning is Professor Emeritus of Music at The City College of New York (CCNY) and the City University Graduate Center (CUNY) and has also taught in the DMA program of The Juilliard School. She wrote a book on the beginnings of opera and articles on sixteenth- and seventeenth-century Italian secular music, music iconography, and eighteenth-century French subjects. She also authored a college textbook, Concise History of Western Music, currently in its fifth edition (2019). A past president of the Society for Seventeenth-Century Music, she currently serves on the Board of the NY-based early music ensemble ARTEK.

• IntroductionPart I: Music and Words1. Opera Is Born: The Wedding of Music and Drama in Late Renaissance FlorenceOriginally published in The Cambridge Companion to Seventeenth-Century Opera, ed. Jacqueline Waeber. Cambridge and New York: Cambridge University Press, 2023, 3–21.2. Music and the Arts [in the Seventeenth Century]Originally published in The Cambridge History of Seventeenth-Century Music, eds. Tim Carter and John Butt. Cambridge and New York: Cambridge University Press, 2005, 111–31.3. Music in Italy on the Brink of the BaroqueOriginally published in Renaissance Quarterly 37 no. 1 (Spring 1984) 1–20.4. Apologia pro Ottavio RinucciniOriginally published in the Journal of the American Musicological Society 26 no. 2 (1973) 240--62.5. The Ending of L’Orfeo: Father, Son, and RinucciniOriginally published in the Journal of Seventeenth-Century Music 9/1 (2003)https://sscm-jscm.org6. Powerless Spirit: Echo as a Trope on the Musical Stage of the Late RenaissanceOriginally published in Word, Music, and Song: Essays on Early Modern Italy, 2 vols., edited by Rebecca Cypress, Beth L. Glixon, and Nathan Link (Rochester, NY: University of Rochester Press, 2013) I: 193–218.7. Monteverdi’s Three Genera: A Study in TerminologyOriginally published in Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning. Festschrift Series No. 11 (Stuyvesant, NY: Pendragon Press, 1992) 145–70.8. Tasso and the Italian MadrigalOriginally published in Teaching the Italian Renaissance Romance Epic, ed. Jo Ann Cavallo (New York: Modern Language Association of America, 2018) 271–79.9. Love’s New Voice: Italian Monodic SongOriginally published in The World of Baroque Music, New Perspectives, ed. George Stauffer (Bloomington, IN: Indiana University Press, 2006) 25–47.Part II: Music and Images10. Some Images of Monody in the Early BaroqueOriginally published in Con che soavità: Studies in Italian Opera, Song, and Dance, 1580–1740, edited by Iain Fenlon and Tim Carter (Oxford: Clarendon Press, 1995) 1–12.11. Glorious Apollo: Poetic and Political Themes in the First OperaOriginally published in Renaissance Quarterly 32, no. 4 (Winter 1979) 485—513.12. From Saint to Muse: Representations of Saint Cecilia in FlorenceOriginally published in Music in Art (International Journal for Music Iconography) 29,nos. 1–2 (Spring/Fall 2004) 91–103.13. The Iconography of a Salon Concert: A ReappraisalOriginally published in French Musical Thought, 1600–1800, ed. Georgia Cowart (AnnArbor and London: UMI Research Press, 1989) 129–48.14. Conversation and Musical Style in the Late Eighteenth-Century Parisian SalonOriginally published in Eighteenth-Century Studies 22, no. 4 (Summer 1989) 512—528.

Barbara Russano Hanning is Professor Emeritus of Music at The City College of New York (CCNY) and the City University Graduate Center (CUNY) and has also taught in the DMA program of The Juilliard School. She wrote a book on the beginnings of opera and articles on sixteenth- and seventeenth-century Italian secular music, music iconography, and eighteenth-century French subjects. She also authored a college textbook, Concise History of Western Music, currently in its fifth edition (2019). A past president of the Society for Seventeenth-Century Music, she currently serves on the Board of the NY-based early music ensemble ARTEK.

• IntroductionPart I: Music and Words1. Opera Is Born: The Wedding of Music and Drama in Late Renaissance FlorenceOriginally published in The Cambridge Companion to Seventeenth-Century Opera, ed. Jacqueline Waeber. Cambridge and New York: Cambridge University Press, 2023, 3–21.2. Music and the Arts [in the Seventeenth Century]Originally published in The Cambridge History of Seventeenth-Century Music, eds. Tim Carter and John Butt. Cambridge and New York: Cambridge University Press, 2005, 111–31.3. Music in Italy on the Brink of the BaroqueOriginally published in Renaissance Quarterly 37 no. 1 (Spring 1984) 1–20.4. Apologia pro Ottavio RinucciniOriginally published in the Journal of the American Musicological Society 26 no. 2 (1973) 240--62.5. The Ending of L’Orfeo: Father, Son, and RinucciniOriginally published in the Journal of Seventeenth-Century Music 9/1 (2003)https://sscm-jscm.org6. Powerless Spirit: Echo as a Trope on the Musical Stage of the Late RenaissanceOriginally published in Word, Music, and Song: Essays on Early Modern Italy, 2 vols., edited by Rebecca Cypress, Beth L. Glixon, and Nathan Link (Rochester, NY: University of Rochester Press, 2013) I: 193–218.7. Monteverdi’s Three Genera: A Study in TerminologyOriginally published in Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, edited by Nancy Kovaleff Baker and Barbara Russano Hanning. Festschrift Series No. 11 (Stuyvesant, NY: Pendragon Press, 1992) 145–70.8. Tasso and the Italian MadrigalOriginally published in Teaching the Italian Renaissance Romance Epic, ed. Jo Ann Cavallo (New York: Modern Language Association of America, 2018) 271–79.9. Love’s New Voice: Italian Monodic SongOriginally published in The World of Baroque Music, New Perspectives, ed. George Stauffer (Bloomington, IN: Indiana University Press, 2006) 25–47.Part II: Music and Images10. Some Images of Monody in the Early BaroqueOriginally published in Con che soavità: Studies in Italian Opera, Song, and Dance, 1580–1740, edited by Iain Fenlon and Tim Carter (Oxford: Clarendon Press, 1995) 1–12.11. Glorious Apollo: Poetic and Political Themes in the First OperaOriginally published in Renaissance Quarterly 32, no. 4 (Winter 1979) 485—513.12. From Saint to Muse: Representations of Saint Cecilia in FlorenceOriginally published in Music in Art (International Journal for Music Iconography) 29,nos. 1–2 (Spring/Fall 2004) 91–103.13. The Iconography of a Salon Concert: A ReappraisalOriginally published in French Musical Thought, 1600–1800, ed. Georgia Cowart (AnnArbor and London: UMI Research Press, 1989) 129–48.14. Conversation and Musical Style in the Late Eighteenth-Century Parisian SalonOriginally published in Eighteenth-Century Studies 22, no. 4 (Summer 1989) 512—528.