Florentine Camerata

musical intermezzos (music played between the acts of stage plays) invariably ignited opera into existence. As discussed by Greenberg (2009), the intermezzo and the madrigal evolved and flourished during the late sixteenth century and led directly to the invention of opera. ‘The intermezzi had music, they accentuated the dramatic and emotional content of the play in which they were interpolated and all the leading Italian composers wrote them” (L29, 17:30). By the late sixteenth century these intermittency, which were so well received, began to increase in the spectacle of its production and musical forces; audiences craved for more and the composers at the time were more than happy to oblige them. As discussed by Greenberg (2009), the Florentine composer Emilio de ' Cavalieri wrote the very first intermezzo in which he referred to its genre as an intermedio/madrigal for the purpose of the opening ceremony for the wedding of Grand Duke Ferdinand de ' Medici and Christine of Lorraine in 1589 entitled Dalle Piu Alter Sfere (from the highest sphere). This musical work contains four instrumental parts with the highest instrumental part doubled by a soprano voice embellishing that part. “Thus scored, for one singer, an instrumental accompaniment Dalle Piu Alte Sfere is, what the locals would have called a frottola, a homophonic accompanied song” (L11, 19:06). The text sung solo is clearly heard and understood to welcome the couple to the ceremony. “The madrigal-like word…

Its debut in the earliest form came about in 1580 in a series of Discourses on Ancient Music and Good Singing written by Vincenzo Galilei. Galilei strived to build upon the idea of recreating the structure of dramatic storytelling. He began with a single melodic line that would act as the “narrator,” (“Recitative”). Members of the Florentine Camerata also contributed to the development of the recitative by implementing their principles of virtuosic music. The earliest composition of recitative…

The present report is concerned with evaluating the assertions made by Warren Kirkendale with regard to the “birth” of opera, or how it truly originated. Kirkendale has written an article “The Myth of the “Birth of Opera” in the Florentine Camerata Debuked by Emilio de’ Cavalieri: A Commemorative Lecture” in effort to determine exactly where opera began and who created it. We will also compare Kirkendale’s article to Grout, Palisca, and Burkholder’s textbook “A History of Western Music” with…

composer of time because he composed motets for ceremonial occasions in Italy. Manchut is the number one composer that stood up in the French Ars Nova translate new art. A new type of song is madrigal and it is expressive and secular. In the 1650-1900, Opera was the most popular type of entertainment in the Renaissance Era. John Farmer composed a song called “Fair Phyllis,” that is an English Madrigal. Another well known composer is Orlando de Lassus (1530-1594). He wrote over 2,000 works for…

because of the famous liberty works of literature like “Enlightened Absolutism.” The second reason why Liberalism is more convincing is the amazing figures who aided and supported it, most notable being John Locke. The third and last reason is because of all the valid theories that surround Liberalism like “All mankind... being all equal and independent, no one ought to harm another in his life, health, liberty or possessions.” Performing Arts (A) I believe that the 3 most influential…