FAVOLE IN MUSICA
The style developed by Caccini and the others in camera (or in Camerata) did not stay long in private chambers but was immediately returned to the theater whence, in a sense, it came. The monodist’s objective was to recapture the emotional and ethical contagion of the Greek poet-musicians—in effect, the idea was to resurrect or reinvent the Greek (sung) drama as reimagined by Girolamo Mei. Galilei had exhorted his musician contemporaries to copy the inflections of actors, which implied from the beginning that the ideal destination of the monody would be the mouths of actors—singing actors, who would add the powers of music to their already highly developed histrionic skills.
- Citation (MLA):
- Richard Taruskin. "Chapter 19 Pressure of Radical Humanism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Feb. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 19 Pressure of Radical Humanism. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 8 Feb. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 19 Pressure of Radical Humanism." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Feb. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-019007.xml