Singing Dante: The Literary Origins of Cinquecento Monody

Nonfiction, Entertainment, Music, Theory & Criticism, History & Criticism, Reference, Fiction & Literature, Literary Theory & Criticism
Cover of the book Singing Dante: The Literary Origins of Cinquecento Monody by Elena Abramov-van Rijk, Taylor and Francis
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Author: Elena Abramov-van Rijk ISBN: 9781317054870
Publisher: Taylor and Francis Publication: July 5, 2017
Imprint: Routledge Language: English
Author: Elena Abramov-van Rijk
ISBN: 9781317054870
Publisher: Taylor and Francis
Publication: July 5, 2017
Imprint: Routledge
Language: English

This book takes its departure from an experiment presented by Vincenzo Galilei before his colleagues in the Florentine Camerata in about 1580. This event, namely the first demonstration of the stile recitativo, is known from a single later source, a letter written in 1634 by Pietro dei Bardi, son of the founder of the Camerata. In the complete absence of any further information, Bardi’s report has remained a curiosity in the history of music, and it has seemed impossible to determine the true nature and significance of Galilei's presentation. That, unfortunately, still remains true for the music, which is lost. Yet we know a crucial fact about this experiment, the poetic text chosen by Galilei: it was an excerpt from the Divine Comedy by Dante Alighieri, the Lament of Count Ugolino. Starting from this information the author examines the problem from another angle. Investigation of the perception of Dante’s poetry in the sixteenth century, as well as a deeper enquiry into cinquecento poetic theories (and especially phonetics) leads to a reconstruction of Galilei’s motives for choosing this text and sheds light on some of the features of his experiment.

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This book takes its departure from an experiment presented by Vincenzo Galilei before his colleagues in the Florentine Camerata in about 1580. This event, namely the first demonstration of the stile recitativo, is known from a single later source, a letter written in 1634 by Pietro dei Bardi, son of the founder of the Camerata. In the complete absence of any further information, Bardi’s report has remained a curiosity in the history of music, and it has seemed impossible to determine the true nature and significance of Galilei's presentation. That, unfortunately, still remains true for the music, which is lost. Yet we know a crucial fact about this experiment, the poetic text chosen by Galilei: it was an excerpt from the Divine Comedy by Dante Alighieri, the Lament of Count Ugolino. Starting from this information the author examines the problem from another angle. Investigation of the perception of Dante’s poetry in the sixteenth century, as well as a deeper enquiry into cinquecento poetic theories (and especially phonetics) leads to a reconstruction of Galilei’s motives for choosing this text and sheds light on some of the features of his experiment.

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