Luigi Dentice
Luigi Dentice (Naples ca. 1510–1566) was an Italian composer, musical theorist, singer and lutenist who served the powerful Sanseverino family,[1] and was father of Fabrizio Dentice (ca. 1539-ca. 1581), also a composer and lutenist.[2] He was grandfather of Scipione Dentice (1560-1635).
Dentice came from a noble family. When his father died in 1561 he inherited the title of Baron of Viggiano. He married Vincenza Caracciolo, who in 1566 was left a widow with two young children. In the 1550s the Dentices travelled extensively in Spain.[3] As a singer, Luigi Dentice appears to have sung as a male soprano falsettist.[4]
His main work of music theory Duo dialoghi della musica, Rome 1553, was a collection of classical Greek and Latin writings on music, translated into Italian, with Dentice's own commentary.[5] The title promises one dialogue on theory, another on practice.[6] The text is interspersed with a few comments on contemporary music and musicians.[7] It also includes Dentice's opinions on inflection in musica ficta,,[8] and the practice of monody later developed by Giulio Caccini and others.[9]
Works
- Songs in posthumous collection Arie Raccolti, printed Rocco Rodio, Naples 1577.
Selected discography
- Two songs: Come t'haggio lassata, o via mia? Chi me l'havesse dett', o via mia? on Napolitane - villanelle, arie & moresche (1530-70). Ensemble Micrologus, Cappella della Pietà de' Turchini dir. Florio, Opus111 1999
References
- ↑ T. Crawford, "Lute counterpoint from Naples" in Early Music, Oxford Journals 2006
- ↑ Dinko Fabris, 'Vita e opere di Fabrizio Dentice, nobile napoletano, compositore del secondo Cinquecento', Studi musicali,
- ↑ Jeanice Brooks, Courtly song in late sixteenth-century France p. 53
- ↑ Richard Wistreich, Warrior, courtier, singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance, p. 138-139
- ↑ Duo dialoghi della musica Edition 1988 81 pages
- ↑ Ann Elizabeth Moyer Musica scientia: musical scholarship in the Italian Renaissance 1992, p. 147
- ↑ James Haar in Iain Fenlon, Early Music History: Studies in Medieval and Early Modern Music 2009 p. 50
- ↑ Karol Berger, Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony
- ↑ Wistreich op.cit. p. 139
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