By Claude V. Palisca
Now features a bankruptcy on French and English sacred song within the seventeenth and 18th century.
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Additional info for Baroque Music (3rd Edition)
Like these other modes of singing, it depended on an interaction between speech inflection and melody, but its essential novelty was that it navigated the straits between speech rhythm and measured rhythm, and between free dissonance and triadic harmony. For, in recitative, melodic declamation was at once free from and controlled by harmony and measured rhvthm. 30 The Recitative Style 3t If the recognition of the triad as a basic harmonic building block in the sixteenth century prepared the way for recitative, the immediate stimulus for its invention was external to purely musical development.
D. d- Cdnti ai led Lrf o ar ftdrmoriraniOrr rlrlb t EXAMPLE 3-3 Peri's music for Orfeo's moving lament over the death of his bride, Euridice, in the original edition by Giorgio Marescotti, Florence, 1601. 35 36 The Recitative Style dissonances arise not only from an attempt to express the words but also from the manner of speaking them. "2 The recitation is mainly limited to a narrowly circumscribed range, perhaps following Galilei's counsel that modern singing should imitate the small range practiced by early Greek bards.
The only musicians known to have attended these meetings are Caccini, Galilei, and the amateur Pietro Strozzi, but others must have been frequent visitors. Galilei wrote his Dialogo partly in response to the curiosity and eagerness for instruction of 32 The Recitative Stvle these gentlemen. This group, to which Caccini referred in 1600 asthe CamerataofBardi, probably broke up well before Bardi moved to Rome in1592. Galilei was also patronized by another wealthy nobleman, Jacopo Corsi (1561-1602), who perhaps more than Bardi was interested in the practical application of some of Galilei's theories.
Baroque Music (3rd Edition) by Claude V. Palisca