CACCINI NUOVE MUSICHE PDF

Life[ edit ] Little is known about his early life, but he was born in Italy, the son of the carpenter Michelangelo Caccini; he was the older brother of the Florentine sculptor Giovanni Caccini. In Rome he studied the lute , the viol and the harp , and began to acquire a reputation as a singer. By , Caccini was singing at the Medici court. He was a tenor , and he was able to accompany himself on the viol or the archlute ; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera. In the last two decades of the 16th century, Caccini continued his activities as a singer, teacher and composer. Caccini made at least one further trip to Rome, in , as the secretary to Count Bardi.

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Jump to navigation Jump to search Caccini, Le Nuove musiche, , title page Le nuove musiche "The New Musics" is a collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini , published in Florence in July It is one of the earliest and most significant examples of music written in the early baroque style of the seconda pratica.

It contains 12 madrigals and 10 arias. The volume was dedicated to Lorenzo Salviati and is dated February , stile fiorentino , stile comune ; it was to be published early in but the printer, Giulio Marescotti , died before publication was completed, and its release was delayed until July The introduction to this volume is probably the most clearly written description of the purpose, intent and correct performance of monody from the time.

It includes musical examples of ornaments—for example, how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey. Caccini expressed disappointment at inappropriate ornamentation by the singers of his day. The preface also includes effusive praise for the style which he himself invented, and amusing disdain for the work of more conservative composers of the period. References[ edit ] Carter, Tim, H.

Wiley Hitchcock, Suzanne G. Cusick, and Susan Parisi.

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