Valerio Morucci began his career as performer and music historian in Rome, where he graduated with a laurea from the University of Rome. He then obtained a Ph.D. in musicology and criticism from University of California at Davis.
Morucci has taught undergraduate and graduate courses in musicology at UC Davis, Sacramento State University, and University of the Pacific. His primary area of research focuses on Renaissance and Baroque music, particularly on patronage, performance practice, and theory from the 16th to the early 18th centuries. His secondary interests concern music in medieval monastic liturgy, musical paleography, and music in fascist Italy.
He has presented papers at many national and international conferences, and his articles appear in various peer-reviewed journals, including (among others) Musica Disciplina (2010), Journal of Musicology (2012), International Journal of Interdisciplinary Medieval Research (2012), Acta Musicologica (2013), Performance Practice Review (2013), Early Music (2015), Grove/Oxford Music Online, and Journal of Seventeenth-Century Music. His book, Baronial Patronage of Music in Early Modern Rome (Routledge, 2018), was supported by the American Musicological Society. He is the founder and director of the early music ensemble Musica antica.
Baronial Patronage of Music in Early Modern Rome
This is the first dedicated study of the musical patronage of a Roman baronial family in the 16th and early 17th centuries. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence.
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- Ph.D., Musicology and Criticism, University of California, Davis
- Laurea, University of Rome