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Topic: Gioseffo Zarlino

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	Gioseffo Zarlino - Wikipedia, the free encyclopedia
		Gioseffo Zarlino (January 31 or March 22, 1517 – February 4, 1590), was an Italian music theorist and composer of the Renaissance.
		Zarlino was the first to recognize the primacy of the triad over the interval as a means of harmonic thinking.
		Zarlino's writings, primarily published by Francesco Franceschi, spread throughout Europe at the end of the 16th century.
	en.wikipedia.org /wiki/Gioseffo_Zarlino (568 words)

	GIOSEFFO ZARLINO - LoveToKnow Article on GIOSEFFO ZARLINO
		Studying in his youth for the Church, he was admitted to the minor orders in 1539 and ordained deacon in 1541 at Venice; but he soon devoted himself entirely to the study of music under the guidance of Adrian Willaert, then choirmaster at St Marks.
		Willaert, dying in 1562, was succeeded by Cipriano di Rore, on whose removal to Parma in I 565 Zarlino was elected choirmaster.
		The ode was followed by a solemn service in St Marks, in which Zarlinos music formed a prominent feature, and the festival concluded with the representation of a dramatic piece entitled Orfeo composed by Zarlino.
	37.1911encyclopedia.org /Z/ZA/ZARLINO_GIOSEFFO.htm (262 words)

	Venetian School - Wikipedia, the free encyclopedia
		Gioseffo Zarlino, one of the most influential writers on music of the age, called Willaert "the new Pythagoras," and Willaert's influence was profound, not only as a composer but as a teacher, since most of the Venetians who followed studied with him.
		Friction between the two groups came to a head in 1569 with a dramatic, public fight between Donato and Zarlino during the Feast of St. Mark.
		Members of the conservative branch tended to follow the style of Franco-Flemish polyphony, and included Cipriano de Rore, Zarlino, and Claudio Merulo; members of the progressive group included Donato, Giovanni Croce, and later Andrea and Giovanni Gabrieli.
	en.wikipedia.org /wiki/Venetian_School (683 words)

	Gioseffo Zarlino: bio and encyclopedia article (Site not responding. Last check: 2007-10-20)
		Gioseffo Zarlino (January 31 or March 22, 1517 – February 4, 1590), was an Italian (Italian: A native or inhabitant of Italy) music theorist (music theorist: music theory is a set of systems for analyzing, classifying, and composing music and the...
		Zarlino was born in Chioggia (Chioggia: chioggia is a coastal town in the veneto region of northern italy (pop....
		Zarlino's writings spread throughout Europe at the end of the 16th century (16th century: (15th century - 16th century - 17th century - more centuries)...
	www.absoluteastronomy.com /reference/gioseffo_zarlino (843 words)

	Gioseffo Guami - Wikipedia, the free encyclopedia
		In 1588 he was appointed to the post of first organist at St. Mark's (there were two organists, who usually also served as composers, under the direction of the maestro di cappella, who at that time was Gioseffo Zarlino).
		When Zarlino died he Guami returned to Lucca, possibly because he was not appointed as Zarlino's successor; in Lucca he was employed as the organist at the cathedral, where he stayed until he died.
		The major influences on Guami's sacred music style are from Willaert, his teacher at St. Mark's, and Cipriano de Rore, and later from Lassus; indeed the two composers may have been friends since they served together in Munich and evidently traveled together.
	en.wikipedia.org /wiki/Gioseffo_Guami (504 words)

	Gioseffo Zarlino Biography / Biography of Gioseffo Zarlino Biography
		Born in Chioggia near Venice, Gioseffo Zarlino received his initial training in religion and music from Franciscans, whose order he entered as early as 1537.
		Zarlino esteemed and emulated Willaert, crediting him with having the restored music to a level previously enjoyed only in classical times.
		Even while, or perhaps because, Zarlino was a conservative composer, he wrote the best critique of the music of his time and the age that led up to it.
	www.bookrags.com /biography-gioseffo-zarlino (559 words)

	Gioseffo Zarlino: bio and encyclopedia article (Site not responding. Last check: 2007-10-20)
		Zarlino was born in Chioggia Chioggia quick summary:
		Chioggia is a coastal town in the veneto region of northern italy (pop....
		Zarlino's writings spread throughout Europe at the end of the 16th century 16th century quick summary:
	www.absoluteastronomy.com /encyclopedia/g/gi/gioseffo_zarlino.htm (1711 words)

	Untitled Document
		It remains to be seen how musician-theorists such as Gioseffo Zarlino and Vincenzo Galilei of the late Baroque period responded to the influence of rhetoric during this time period.
		To Zarlino, this translates into musical practice as the composer's obligation "to accompany each word in such a way that, if it denotes harshness, hardness, cruelty, bitterness, and other things of this sort, the harmony will be similar, that is, somewhat hard and harsh, but so that it does not offend.
		Throughout the rest of the early 17th century, music theorists elaborated upon the ideas of Zarlino and Galilei, ultimately leading to a separation in the study of music theory that encompassed the thought of most Italian composers, including Claudio Monteverdi, Guilio Caccini, and Jacopo Peri, the members of the Florentine Camarata.
	www.smcm.edu /users/gtdegentesh/d2/ClasInfl.htm (6635 words)

	Ibn Sina, Stifel, and Zarlino (Site not responding. Last check: 2007-10-20)
		Zarlino argued that the arithmetic division and the harmonic division of the “fifth,” length ratio 3/2, are equally important to the development of music theory.
		Zarlino severely criticizes Stifel’s geometric division of the “tone,” ratio 9/8, two years later he fails to acknowledge Stifel’s stunning mathematical solution for the division of musical intervals into two or more harmonic means.
		In conformity with Zarlino’s method of calculating a harmonic division based on the three terms of a corresponding arithmetic division, the column to the left of String III gives the latter three terms in a rectangular frame.
	www.chrysalis-foundation.org /Ibn-Sina_Stifel_&_Zarlino.htm (7317 words)

	ZARLINO, Gioseffo., Le istitutioni harmonicheNelle quali; oltra le materie appartenenti alla musica; si trovano ... (Site not responding. Last check: 2007-10-20)
		ZARLINO, Gioseffo., Le istitutioni harmonicheNelle quali; oltra le materie appartenenti alla musica; si trovano dichiarati molti luoghi di poeti, d’historici, & di filosofi; si come nel leggerle si potrà chiaramente vedere.
		Keyed and fretted instruments, which are mechanically tuned, cannot follow the free intonation of the voice, but for them Zarlino proposed a compromise by which the octave is divided into twelve equal semitones, and this has been finally adopted for them also.
		Altogether, Zarlino’s treatise had the most far-reaching effects in musical theory, in the practice of composition, and in the construction of musical instruments.
	www.polybiblio.com /finch/84420.html (419 words)

	Gioseffo Zarlino: biography and encyclopedia article (Site not responding. Last check: 2007-10-20)
		Zarlino was born in Chioggia (Chioggia is a coastal town in the veneto region of northern italy (pop....)
		Zarlino took over the post of maestro di cappella of St, Exception Handler: No article summary found.
		Zarlino was the first to recognize the primacy of the triad over the interval as a means of harmonic thinking, Exception Handler: No article summary found.
	www.absoluteastronomy.com /ref/gioseffo_zarlino (1938 words)

	Zarlino, Gioseffo
		Among the few extant musical works of Zarlino are a four-voice Mass which exists only in manuscript.
		Zarlino is most known for his three theoretical treatises:
		Zarlino, also known as Zarlinus Clodiensis, was an extremely learned Italian theorist and composer.
	www.stevenestrella.com /composers/composerfiles/zarlino1590.html (195 words)

	Zarlino (Site not responding. Last check: 2007-10-20)
		Motets on the Song of Songs from the 1549 Musici moduli liber primus by Venetian composer and theorist, Gioseffo Zarlino (1517-1590), together with 2 motets by Willaert and Josquin cited in Zarlino's theoretical writings performed from editions based on sources in the archives of Toledo Cathedral.
		The musical citations of Gioseffo Zarlino's great treatise, Istitutioni harmoniche (1558) offer an unusually detailed view of one individual's musical world in mid-sixteenth century Venice.
		Zarlino's setting suggests a musical analogy of motets intended for academic devotion that attempt a large-scale affective reading of the Song of Songs through the eyes of Cassinese theology." - Cristle Collins Judd
	www.ensembleplusultra.com /html/zarlino.html (295 words)

	ZARLINO Intro and Chap. 1 (English)
		He also recognised that the singers he heard were, for the most part, incapable of singing "in a way that gives the listener this total well-being which comes from perfect harmony." This incapacity he attributed to the harmful influence of the pianos with tempered tuning with which they practised.
		Until the seventeenth century, singers were taught by means of a monochord, for which Zarlino, in the middle of the sixteenth century, had rediscovered the true natural scale.
		No matter what one might think after superficial examination of a figure (Figure 1.1) appearing in his treatise, Zarlino could in no way have "rediscovered the natural scale," for the simple reason that the concept of scale and its corollary, of key or tonality, did not exist at the time of the Renaissance.
	www.medieval.org /emfaq/zarlino/article1.html (3306 words)

	Wibberley, Footnotes
		Gioseffo Zarlino, Le Istitutioni Harmoniche, part 3, translated in Guy A. Marco and Claude V. Palisca The Art of Counterpoint: Gioseffo Zarlino.
		Such differences would certainly have been noticed by informed listeners like Zarlino and Ganassi, both of whom remarked upon Willaert's uniqueness (the former noting his correction of "numerous errors" and the latter asserting his position as "the new Prometheus of celestial harmony").
		In measure 7, beat 3, the "G+1" applied to voice 1 signals another audible "comma control point" by virtue of its juxtaposition with the previous pitch "D" in voice 3 against which there is another indirect "wolf".
	mto.societymusictheory.org /issues/mto.04.10.1/mto.04.10.1.wibberley2_notes.html (899 words)

	A Brief History of the Monochord
		After Marchetto came Gioseffo Zarlino, who proposed in his Institutione harmoniche, dividing the monochord into 6 parts, instead of the usual 4.
		Zarlino's work influenced music theory until Bach's time and beyond.
		J.P. Kirnberger, who was a student of Bach's, explains scales, intervals, etc., according to Zarlino's principles in his Die kunst des reinen satzes in musik (1771-79).
	www.lowbrassnmore.com /Monochord.htm (759 words)

	ZARLINO, GIOSEFFO (151... - Online Information article about ZARLINO, GIOSEFFO (151... (Site not responding. Last check: 2007-10-20)
		The point at issue was, that neither in the polyphonic school, in which Zarlino was educated, nor in the later monodic school, of which his recalcitrant See also:
		But Zarlino uncompromisingly declared that the syntonous or intense diatonic scale was the only See also:
		Zarlino thought differently and made it the first mode, changing all the others to See also:
	encyclopedia.jrank.org /YAK_ZYM/ZARLINO_GIOSEFFO_1517_1590_.html (1544 words)

	ET in 1588 a reference (Site not responding. Last check: 2007-10-20)
		If you find Zarlino in a library in English please let me know.
		Gioseffo Zarlino da Chioggia, Maestro di Cappella della Sereniss.
		Zarlino's paraphrase of arguments by his friend the Abbot Girolamo Roselli in favor of a division of the octave into 12 equal semitones appears in Book 4, Chapter 31, p.
	www.ptg.org /pipermail/pianotech/2000-May/064957.html (159 words)

	Untitled Document (Site not responding. Last check: 2007-10-20)
		Study of the musical citations of Part IV of Le Istitutione harmoniche in their wider context provides remarkable insight into Gioseffo Zarlino's appropriation, gradual assimilation, and eventual reworking of Heinrich Glarean's dodecachordal theory over a twenty-five year period.
		Zarlino's citations come from three primary sources (RISM 15204, Zarlino 1549, and Willaert 1559) and substantiate his view of the best of "ancient" and "modern" composition as well as implicitly enhancing his own compositional stature through self-citation.
		Through observations about Zarlino's citations and the evolving relationship with dodecachordal theory they suggest, I address the broader question of his role as a reader, consumer, and agent of printed musical and theoretical sources.
	www.societymusictheory.org:16080 /smt/html/events/abstracts/smt-97.abstracts/judd.html (201 words)

	[No title] (Site not responding. Last check: 2007-10-20)
		A prime example is Gioseffo Zarlino (1517-1590), who is known today primarily as a music theorist, but who also tried his hand at composition; see Roman Flury, Zarlino als Komponist (Winterthur: P.
		Music Library Association, USA 42/2 (December 1985): 239-67, and Claude V. Palisca, "Zarlino, Gioseffo," New Grove Dictionary of Music and Musicians, ed.
		Gioseffo Zarlino, Le istitutioni harmoniche (Venice, 1558; repr.
	www.music-cog.ohio-state.edu /~jveltman/research/thesis/introduction.footnotes.html (527 words)

	VINCENZO GALILEI, Biography, Discography (Site not responding. Last check: 2007-10-20)
		In 1563 Vincenzo was sent to study theory with Gioseffo Zarlino, a relationship that would sour over time.
		Around 1570 Vincenzo began a compendium of Zarlino's Le istituioni harmonische, but he gradually developed his own new ideas about the progress of music.
		The Camerata was interested in new directions in music, striving to emulate the early Greek dramatic style, the results which led to the early development of opera.
	www.goldbergweb.com /en/history/composers/10952.php (282 words)

	Adrian Willaert - Free net encyclopedia (Site not responding. Last check: 2007-10-20)
		In force of personality, and with his central position as maestro di cappella at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina.
		According to Gioseffo Zarlino, writing later in the 16th century, Willaert was the inventor of the antiphonal style from which the polychoral style of the Venetian school evolved.
		As there were two choir lofts, one of each side of the main altar of St. Mark's, both provided with an organ, Willaert divided the choral body into two sections, using them either antiphonally or simultaneously.
	www.netipedia.com /index.php/Adrian_Willaert (755 words)

	Electronic Texts at Bobst: Thesaurus Musicarum Italicarum (Site not responding. Last check: 2007-10-20)
		This first publication on CD-ROM contains writings on music by Gioseffo Zarlino (1517-1590), one of the most influential music theorists of all time.
		This is the first treatise Zarlino wrote, and immediately made his reputation.
		The third, expanded, edition of the same work, and the last that appeared under Zarlino's supervision, as part 1 of the Tutte le opere.
	www.nyu.edu /library/bobst/research/etc/tmi.htm (173 words)

	George Russell's Lydian Chromatic Concept of Tonal Organization
		The foundations of the Lydian Chromatic Concept are not new, and are in fact rooted in Pythagorean overtone series adjusted to equal temperament, and Henricus Glareanus Dodecachordon (published some four centuries before George Russell took up a formal study of harmony).
		However, not long after Glareanus' work, Gioseffo Zarlino undertook to re-prioritize the Church modes, moving the Ionian mode (major scale in today's terminology) from the eleventh place to the first.
		Zarlino is believed the first to assert the m ajor/minor system most people have studied music theory under ever since.
	www.lydianchromaticconcept.com /review_McBride1.html (1554 words)

	Joti Rockwell
		with Willaert's circle of composers in Venice and Zarlino was a pupil of Willaert.
		Rore's use of chromaticism is fairly consistent with Zarlino's guidelines; his use of rhythm is not.
		The use of rhythm in "Crudele acerba" is generally consistent with Zarlino's prescription; it is for the
	www.haverford.edu /musc/multimedia/renaissance/Rockwell/Petrarc1.html (2442 words)

	Text versus Polyphony
		In this passage from his 16th century Le istitutioni armoniche (which has also been cited earlier), Zarlino discusses both the attributes and limitations of polyphonic musical textures as a vehicle for expressing texts.
		In your own words, summarize (a) the advantages which Zarlino claims polyphony possesses and (b) the limitations from which he believes polyphony suffers.
		In this passage from his 16th century Le istitutioni armoniche (which has also been cited earlier), Zarlino discusses both the attributes and limitations of polyphonic musical textures.
	wps.prenhall.com /hss_bonds_hisofmusic_2/0,10476,2046569-content,00.utf8.html (651 words)

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