000			01499nab a2200181 c 4500
001			myd_83721
003			ES-MaCDM
005			20240923093615.0
008			181003s2010 sp ||||fr 00| u|spa u
040			_aES-MaCDM
100	1		_aWilbourne, Emily _9136597
245	0		_aLo Schiavetto (1612) _b Travestied Sound, Ethnic Performance, and the Eloquence of the Body _cWILBOURNE, Emily
260			_c2010: _bAmerican Musicological Society], _a[Richmond (Va)
520			_aRESUMEN: This article examines at the relationship between epistemologies of sound, repertoires of popular music, and markers of ethnic difference in early seventeenth-century Italy. The analysis concentrates on two scenes from the 1612 commedia dell'arte play Lo Schiavetto ("The Little Slave"). In one, an Italian nobleman disguises himself as a mute Jew, in the other, a young Italian noblewoman sings while cross-dressed as a black, male slave. Questions of embodiment are considered, as are the specific historical circumstances of the work's original performers, Virginia Ramponi Andreini, detta Florinda, and her husband, Giovan Battista Andreini, detto Lelio. Musical discussion focuses on the genre of the madrigal comedy (with particular attention to Orazio Vecchi's L'Amfiparnaso) and Giulio Caccini's Le nuove musiche e nuova maniera di scriverle (1614).
773	0		_tJournal of the American Musicological Society _072899 _wMyd_16042 _gVol. 63, núm. 1,Primavera 2010, p. 1
903			_a83721 _b83721
942			_cART
999			_c121029 _d121029