In Galilei’s Dialogo della musica antica, et della moderna, Piero Strozzi asks: “What has a bigger role in endowing a composition with aria-is it the slowness and rapidity or the highness and lowness of the sounds? And of these two which is most effective in reaching the listener?” Giovanni Bardi-the principal interlocutor-answers that, when they are compatible, these factors combine to produce the aria.

“Aria” is also a quality that gives music individuality and animation. If we turn to these places in his score, we find a modified declamatory recitative style. These arie, which light up among mine like stars, are compositions by one of our principal academicians, a great protector and connoisseur of music. There remains only to speak (so as not to usurp the praises owed to others and, almost like a crow, adorn myself with the feathers of other birds) of the aria of the ottava, Chi da’ lacci d’Amor vive disciolto, and that which Apollo, victorious over the Python, sings, Pur giacque estinto al fine, together with that other, sung by him in the last scene, Un guardo, un guardo appena, up to Non chiami mille volte il tuo bel nome. The Concept “Aria” in Writings from the Camerataġ.1 Marco da Gagliano refers to arias in his preface to La Dafne (1608): The Aria Type Based on the aria da cantar versi: Terza rimaĪudio Example 1. The Aria Type Based on the aria da cantar versi: Ottava rimaĦ. The Aria Type Based on the aria da cantar versi: Prologuesĥ. The Concept “Aria” in Writings from the CamerataĤ. An aria is the composer’s response to both the dramatic situation and the poet’s formal choices.ġ.

There are essentially seven types of aria in early operas, each corresponding to a type of text segment: the aria formula for the musical recitation of prologues in quatrains, strophic variations setting ottava rima, strophic variations setting terza rima, solo madrigals, the strophic canzonetta, solo verse of stanzaic choruses, and dance songs. Verbal or melodic phrases may also be repeated or answered by parallel phrases, higher or lower, in what we call sequences. Musical settings of these text segments generally have a bass organized in regular patterns and supporting consonant harmony, except for occasional suspensions at cadences, which occur at the end of almost every line entire sections of music may be repeated, often with different words.

In the earliest operas, arias are defined by self-contained text forms separate from the surrounding versi sciolti. 1 Aria Types in the Earliest Operas Claude V.

Type de strophes