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The Music Room in Early Modern France and ItalySound, Space and Object$
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Deborah Howard and Laura Moretti

Print publication date: 2012

Print ISBN-13: 9780197265055

Published to British Academy Scholarship Online: January 2013

DOI: 10.5871/bacad/9780197265055.001.0001

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Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Court

Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Court

Chapter:
(p.195) 12 Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Court
Source:
The Music Room in Early Modern France and Italy
Author(s):

MICHAEL MARKHAM

Publisher:
British Academy
DOI:10.5871/bacad/9780197265055.003.0013

Celebrated performer Giulio Caccini's life as a court musician throws light on the ways in which the soloist formulated and reformulated his/her own identity in order to fit within each of the spaces used for music. Tracing the documented performances associated with Caccini, one can map them onto a continuum of spaces from the most public to the most private. Caccini's successful passage into the more intimate spaces required him to re-form himself as the inheritor of the century-old tradition of the intimate vocal improvvisatori, a stylistic and physical transformation that was, in a sense, his life's work. This performative conception of his musical work is a potent reminder of the ambiguous status of solo song at the beginning of the Seicento, perched between the abstract space of the printed score and the traditional space of the court chamber.

Keywords:   court, singer, performance, Caccini, Italy, improvisation, musician

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