Music from the Earliest Notations to the Sixteenth Century
been given an additional impetus by the recent humanist revival with all its attendant neoclassical theorizing, ...
EX. 19-1C From the intermedii of 1589, Giulio Caccini, Io che dal ciel cader, beginning ...
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In 1600, the last year of the sixteenth century, Emilio de’ Cavalieri published in Rome his Rappresentat ...
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FIG. 19-4 Dialogue of the body (Corpo) and soul (Anima) over a figured bass (the first to be prin ...
Rappresentatione, except that it had far more recitativo. Dramatic continuity was given greater emphasis than ...
when we do keep this fact in mind, then we have a new way of understanding the importance Caccini ...
FIG. 19-5 Giulio Caccini, Amarilli mia bella (Le nuove musiche, 1601). The expressive harmonies occur a ...
The most obvious rhetorical effect—borrowed from the polyphonic madrigal but vastly augmented— is the textual repet ...
FIG. 19-6 Examples of gorgia (trillo and gruppo) from the preface to Caccini’s Le nuove musiche (1601). And ...
The very word Caccini chose for one of them—esclamazione (exclamation), described as “the foundation of passi ...
proclaimed by the Camerata (and by Caccini) and older madrigalian techniques. A residual interest in count ...
EX. 19-3C Marco da Gagliano, Valli profonde, mm. 51–54 EX. 19-4A Sigismondo d’India, Piange, madonna, mm. 1– ...
Saracini’s Da te parto (“I part withthee,” Fig. 19-7; Ex. 19-5), from his Seconde Musiche (second songbook) ...
equally necessary to an artful performance of what on the page is crude. The explosion of expressive virtuosit ...
EX. 19-5B Claudio Saracini, Da te parto, end FAVOLE IN MUSICA The style developed by Caccini and the others in c ...
FIG. 19-8 Caccini’s Aria di romanesca from Le nuove musiche (1601). The birth of new music out of the ...
Emilio de’ Cavalieri produced in Florence a number of sung pastorals of his own composition, with text ...
who, pursued by Apollo, is changed by the earth-mother Gaea into a laurel tree. The music is by the same ...
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