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Additional resources for Women and Music: A History
51–53). The seconda prattica was once the trendy track of the day and the fashion of the recent types of monody and opera. even though it originated in secular song, it speedy invaded church tune and should be obvious in devotional song by way of Francesca Caccini, Barbara Strozzi, and Chiara Margarita Cozzolani (nun at S. Radegonda in Milan) in addition. most girls musicians, either performers and composers, cultivated the seconda prattica in secular musical works and realized the recent paintings as singers. Their theoretical education emphasised the newly invented figuredbass strategy instead of the older contrapuntal kind. The Caccinis The notable Caccini kinfolk led within the improvement of the dramatic kind of solo tune followed by way of figured bass before everything of the 17th century. The musically energetic kin integrated the daddy, his better halves, a son, daughters, and at the least one granddaughter. Giulio Caccini, the daddy, had built a method of musical declamation that aimed to “almost communicate in tones. ” The “certain noble negligence of tune” of this new song required a brand new demeanour of making a song, which he taught to his first and moment wives—Lucia and Margherita—and to his children—Francesca, Settimia, and Pompeo. He additionally taught his daughters to compose and to play continuo instruments—harpsichord and lute. Mastery of those tools used to be a technical instrument precious for composition within the new type, as used to be the improvisation of vocal ornamentation. whilst the magnificent virtuosa Vittoria Archilei sang on the Medici courtroom in Florence in 1589, Caccini linked himself together with her through proudly claiming that she played his track, bragging within the preface to his opera L’Euridice of “the new demeanour of passages and redoubled issues, invented through me, which Vittoria Archilei, a singer of that excellence to which her resounding repute bears witness, has lengthy hired in making a song my works” (although a latest witness, Giustiniani, claimed it used to be Archilei herself who had “almost originated the real approach to making a song for females”). eight Giulio’s oldest daughter, Francesca Caccini (1587–by 1645), made her expert debut on the age of 13 in Euridice, an opera through her father’s rival Jacopo Peri. whilst the ensemble of kinfolk musicians, “il concerto Caccini,” traveled to Paris in 1604, Francesca’s making a song so inspired the French king that he sought to maintain the younger lady in Paris, however the Florentine courtroom wouldn't unlock her, and she or he officially entered the provider of the Medicis in 1607. an identical yr she married the singer Giovanni Battista Signorini. She collaborated with Michelangelo Buonarroti (nephew MUSICAL girls OF THE seventeenth AND 18TH CENTURIES 103 of the artist), environment his poetry to song for numerous court docket entertainments (all of which were lost). She, her sister, and Vittoria Archilei played in a trio (now misplaced) stated to have contained best suited contrapuntal passages. In 1616 Francesca and her husband went to Rome to accomplish within the entourage of Cardinal Carlo de’ Medici, and the subsequent yr they traveled to different Italian towns.