Deep Mourning in Cinquecento Venice: Gioseffo Zarlino's lectiones pro mortuis

This article investigates three voci pari settings by Gioseffo Zarlino, the lectiones pro mortuis that appeared in the Motetta D. Cipriani de Rore et aliorum auctorum (Venice: Girolamo Scotto, 1563). Although this collection contains motets, we argue that Zarlino's lectiones were intended as liturgical items for an Office for the Dead, celebrated as part of exequial rites. As such, they represent the first printed liturgical settings for the Office for the Dead in the Italian-speaking area. By analyzing liturgical sources as well as chronicles, we show that there was no tradition of setting the lessons pro mortuis in Italy, and that Zarlino's lectiones must have been a somewhat isolated musical experiment. We contextualize the settings within Zarlino's oeuvre, while also highlighting their relation to the contemporary repertoire of polyphonic lessons for penitential liturgies, most importantly lamentations—a genre that was published widely in the 1560s. In an attempt to reconstruct the social and institutional networks that might constitute the background to Zarlino's lectiones, we urge considering their author not only as a theorist and composer, but also as a polymath, a priest, and, ultimately, a devout Christian.

OS LIMITES DA MÚSICA NO RENASCIMENTO SEGUNDO A PRECEPTIVA DE GIOSEFFO ZARLINO (1517-1590)

Esse artigo aborda a preceptiva elaborada por Gioseffo Zarlino, músico e tratadista ativo em Veneza no século XVI, a respeito da extensão e limite do conceito de ‘Música’ difundido literariamente especialmente nas “Instituições Harmônicas” – tratado publicado pelo autor entre 1558 e 1589. Encomiada pela perfeição alcançada em seu tempo, enquanto Arte e Ciência, a Música representa ali mais que o exercício dos sons, mas uma série de conhecimentos extrínsecos ao senso hodierno ligado quase que exclusivamente à performance. Coligindo e traduzindo as mais relevantes passagens referentes ao assunto, pretendemos oferecer um panorama epistemológico das chamadas “Divisões da Música”, que são os fundamentos genéticos da produção musical no Renascimento.

Die Entstehung der Permutationsfuge

Der Aufsatz setzt sich mit den theoretischen Ansätzen Werner Neumanns und Carl Dahlhaus‘ zur Permutationsfuge auseinander. 1938 definierte Neumann erstmals eine bei Bach häufig auftretende, vom mehrfachen Kontrapunkt geprägte Form der Fuge mit dem Begriff „Permutationsfuge“. Diesem 1959 von Dahlhaus fortentwickelten Ansatz widerspricht der Autor nicht, wendet sich aber gegen die tradierte Sicht, diese Form sei eine genuine Erfindung Bachs. Als Beleg dienen ihm theoretische Quellen wie Kompositionen von Jan Pieterszon Sweelinck/Gioseffo Zarlino, Christoph Bernhard, Johann Adam Reinken, Matthias Weckmann, Johann Theile u.a. Auch die Verbreitung des Verfahrens in Mitteldeutschland wird nachgewiesen. Zuletzt gelten einige Gedanken der Schwierigkeit genauer Begriffsdefinitionen vor dem Hintergrund der historischen Wandelbarkeit der Form- und Gattungsbegriffe. Bezugnehmend auf: Carl Dahlhaus: Zur Geschichte der Permutationsfuge. BJ 1959, S. 95-110

Bach und der Kontrapunkt. Neue Manuskript-Funde

Zwei bislang unbekannte Bach-Manuskripte aus dem Besitz des Peters-Verlages werden der Öffentlichkeit vorgestellt. Der Text versucht einerseits zu informieren, andererseits zur Diskussion über noch offene Fragen anzuregen, die sich mit Inhalt und Funktion der Handschriften verbinden. Es handelt sich zum einen um eine Übersicht über Regeln der Dissonanzbehandlung im doppelten Kontrapunkt, zum anderen um eine umfangreiche Sammlung von Canones und Beispielen für doppelten und dreifachen Kontrapunkt nach Gioseffo Zarlino. Beide Manuskripte werden in Umschriften widergegeben und besonders im Hinblick auf ihre Nähe zu Bach und die Rezeptionsgeschichte Zarlinos eingeordnet.

Christoph Bernhards "Aequatio modorum" und die "reale Beantwortung"

Die spätbarocke Beantwortungstechnik in einer Fugenexposition ist dadurch gekennzeichnet, dass es in ihr, anders als im Kanon oder in der bloßen Imitation, einen Unterschied von realer und tonaler Beantwortung gibt. Den Zusammenhang von Beantwortung und Modalität diskutiert schon Christoph Bernhard. Es kommen aber auch andere Theoretiker und Komponisten wie Gioseffo Zarlino, Costanzo Antegnati, Johann Mattheson, Johann Sebastian Bach, Johann Pachelbel und Johann Jakob Froberger zur Sprache. (Oliver Schöner, Quelle: Bibliographie des Musikschrifttums online)

Istitutioni Harmoniche Gioseffa Zarlina in antična glasbena teorija

Gioseffo Zarlino, po mnenju mnogih osrednji in najvplivnejši italijanski glasbeni teoretik 16. stoletja, je na začetku traktata Istitutioni harmoniche (Temelji harmonike) glasbo predstavil kot matematično znanost.

A Arte da improvisação musical ao teclado no Renascimento italiano: a didática do contraponto segundo

Resumo: Parte fundamental do exercício profissional do tecladista no Renascimento, a improvisação musical é o relevante tema do livro II da segunda parte do tratado Il Transilvano (1610). Única obra publicada pelo organista Girolamo Diruta (1554?-1610?), o Transilvano expõe em 'Diálogo' as preceptivas da arte da música de seu tempo e é Monumentum da memória dos principais mestres atuantes na Sereníssima República de Veneza no século XVI - Adriano Willaert, Gioseffo Zarlino e Claudio Merulo. Padre da ordem franciscana e reconhecido organista das igrejas catedrais de Chioggia e Gobbio, Diruta registra por extenso a fortuna do ensino da Fantasia ao teclado como ápice e fim de um profundo estudo do Contraponto e seus artifícios. A partir da exposição desses preceitos, o presente artigo pretende contextualizar a livre - mas "correta" - manipulação dos sons segundo aquela técnica histórica e oferecer ao seu leitor um panorama da didática da música renascentista.

Notes on the Prooemium in Musicam Plutarchi ad Titum Pyrrhynum by Carlo Valgulio (Brescia 1507)

The Prooemium in Musicam Plutarchi ad Titum Pyrrhinum, written by Carlo Valgulio at the end of the 15th century and published in Brescia in 1507 as an introduction to his Latin translation of the Plutarchean De musica, was one of the first descriptions and re-evaluations of ancient Greek music in the Modern Age. It was an extremely important text for music theorists such as Franchino Gaffurio, Vincenzo Galilei and Gioseffo Zarlino. This text is based upon a wide range of Greek sources, almost all of which derive from Porphyry’s Commentary on Ptolemy’s Harmonics. On the basis of manuscripts that were at his disposal, Valgulio produced the first Latin translations of all of these materials, commented on them and related them to his general argument, often adding personal observations. This study examines several passages of this text dealing with psycho-musicological topics, with the conative function of music and the relationship between music and dance.

Moving the Immovable

In the fifteenth and sixteenth centuries, the debates on the new cosmology involved musical issues at several points. The disputed order of the planets paralleled questions about their correlation with musical modes. The practice of musical change of mode implicitly paralleled the change of center required by heliocentric cosmology. This chapter considers Josquin des Prez’s motet De profundis as a path-breaking example of such change of modal center noted by Heinrich Glarean. Copernicus and his early advocates, such as Rheticus, used “harmony” and music to justify their views; Vincenzo Galilei phrased his advocacy of heliocentrism in terms of its parallel in the ordering of musical modes. He may have drawn his awareness of Copernicus from his teacher Gioseffo Zarlino, who, though no heliocentrist, was one of the few in Italy who acquired the first edition of Copernicus’s book. Vincenzo’s son Galileo also used the language of harmony to express his adherence to the new cosmology. Throughout the book where various sound examples are referenced, please see http://mitpress.mit.edu/musicandmodernscience (please note that the sound examples should be viewed in Chrome or Safari Web browsers).