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	Heinrich Glarean - Wikipedia, the free encyclopedia
		Heinrich Glarean (also Glareanus) (June 1488 – March 28, 1563) was a Swiss music theorist, poet and humanist.
		The most significant feature of the Dodecachordon (literally, "12-stringed instrument") is Glarean's proposal that there are actually twelve modes, not eight, as had long been assumed, for instance in the works of the contemporary theorist Pietro Aron.
		Glarean went so far as to say that the Ionian mode was the one most frequently used by composers in his day.
	www.wikipedia.org /wiki/Heinrich_Glarean (393 words)

	Heinrich Glarean
		Heinrich Glarean (also Glareanus) (June 1488 –; March 28, 1563) was a Swiss music theorist, poet and humanist.
		Glarean's first publication on music, a modest volume entitled Isogoge in musicen, was in 1516.
		Gregorian chant) and monophony; and it closes with an extended study of the use of modes in polyphony.
	www.sciencedaily.com /encyclopedia/heinrich_glarean (430 words)

	Heinrich Glarean -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-08-30)
		Heinrich Glarean (also Glareanus) (June 1488 –; March 28, 1563) was a (The natives or inhabitants of Switzerland) Swiss (additional info and facts about music theorist) music theorist, poet and humanist.
		He was born in Mollis (in the canton of (additional info and facts about Glarus) Glarus, hence his name) and died in (additional info and facts about Freiburg) Freiburg.
		The most significant feature of the Dodecachordon (literally, "12-stringed instrument") is Glarean's proposal that there are actually twelve modes, not eight, as had long been assumed, for instance in the works of the contemporary theorist (additional info and facts about Pietro Aron) Pietro Aron.
	www.absoluteastronomy.com /encyclopedia/H/He/Heinrich_Glarean.htm (403 words)

	info: Heinrich_Faber (Site not responding. Last check: 2007-08-30)
		Heinrich Faber, Heinrich Faber, Johann Faber, Johannes Faberg egg Faberge Faberge FabergÃ© Faberge egg FabergÃ© egg Faberge eggs FabergÃ© eggs FabergÃ©, Peter Carl FabergÃ©, Peter Carl FabergÃ©, Peter Carl...
		Heinrich Faber, German music theorist (died 1552) Federico II of Gonzaga, Marquis of Mantua (died 1540) Francisco de Moraes, Portuguese writer (died 1572) Reginald Cardinal Pole, Archbishop of Canterbury...
		Heinrich Ernst Ferdinand Guericke Heinrich Ewald Heinrich Faber Heinrich Focke Heinrich Freiherr von Hess Heinrich Friedrich Karl, baron von und zum Stein Heinrich Friedrich Otto Abel Heinrich Glarean...
	www.napoli-pizza.net /Heinrich_Faber.html (374 words)

	Heinrich Glarean (Site not responding. Last check: 2007-08-30)
		It was therethat he wrote a famous poem as a tribute to Emperor Maximilian I. Shortly afterwards, in Basle, he met Erasmus and the two humanists became life-long friends.
		Gregorian chant) and monophony ; and it closes with an extended study of the use of modes in polyphony.
		The most significant feature of the Dodecachordon (literally, "12-stringed instrument") is Glarean's proposal that there areactually twelve modes, not eight, as had long been assumed, for instance in the works of the contemporary theorist Pietro Aron.The additional modes included the Ionian and the Aeolian—the modes which we today call the major and minor scales.
	www.therfcc.org /heinrich-glarean-89430.html (363 words)

	September 5: Glarean wrote Erasmus
		Known by the name Glarean, because he was born near Glarus, Switzerland, he came to Basel in 1514 as a private scholar and a proctor (supervisor) of younger men.
		However, when Glarean is remembered today, it is usually because of his study of musical modes.
		Glarean was friends with several of the Reformers, men such as Ulrich Zwingli and Oecolompadius.
	chi.gospelcom.net /DAILYF/2003/09/daily-09-05-2003.shtml (658 words)

	CATHOLIC ENCYCLOPEDIA: Henry Glarean
		Loriti, or Glarean, as he came to be called after 1511, from the name of the town near which he was born, received his first instruction (as did Oswald Myconius, Rudolf Agricola, and others) from Michael Rubellus, at Rottweil.
		Glarean carried a recommendation from him when he started for Paris in 1517; here too, he gathered pupils around him in a bursa and entered into close scientific intercourse with Budaeus, Faber Stapulensis, and Faustus Andrelinus.
		SCHREIBER, Heinrich Loriti Glareanus (Freiburg, 1837); FRITZSCHE, Glarean (Frauenfeld, 1890); OBERMUMMER, Zwei handschriftliche Karten des Glareanus in der Münchner Universitaetsbibliothek in Jahresbericht der geograph.
	www.newadvent.org /cathen/06577a.htm (631 words)

	From Blume’s chapter in the Josquin Proceedings
		Here is Glarean writing in 1547, 26 years after the composer’s death, on the effects that the music of Josquin had on him and on Josquin as a person.
		According to Glarean, Josquin is violently impetuous, he lacks ‘gravitas’, but this is because he is not educated and does not know how to moderate his passions and he is to be forgiven this fault because of his music.
		This has usually been taken to mean that Glarean thought that Josquin was a master at expressing the meaning of the texts he set, particularly in motets, but that is not exactly what he says, and in fact, the works he actually refers to next are all Masses, where the text was always the same.
	sophia.smith.edu /~rsherr/josintro.htm (3474 words)

	History of the Christian Church, Volume VIII: Modern Christianity. The Swiss Reformation. (iv.iv.iv) (Site not responding. Last check: 2007-08-30)
		Heinrich Schreiber: Heinrich Loriti Glareanus, gekrönter Dichter, Philolog und Mathematiker aus dem 16ten Jahrhundert.
		It is a remarkable fact that the influence of Tschudi’s example is felt to this day in the peaceful joint occupation of the church at Glarus, where the sacrifice of the mass is offered by a priest at the altar, and a sermon preached from the pulpit by a Reformed pastor in the same morning.
		Glarean became acquainted with Zwingli in 1510, and continued to correspond with him till 1523.
	www.ccel.org /ccel/schaff/hcc8.iv.iv.iv.html (1879 words)

	Ionian mode -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-08-30)
		However, Greek music theory was poorly understood, and the modes in G were called (additional info and facts about Mixolydian) Mixolydian and (additional info and facts about Hypomixolydian) Hypomixolydian (authentic and plagal modes, respectively).
		Glarean borrowed the Greek term Ionian for a quite different mode.
		The Ionian mode of Glarean is effectively the same as the ancient Greek (additional info and facts about Lydian mode) Lydian mode and the modern (A key whose harmony is based on the major scale) major mode.
	www.absoluteastronomy.com /encyclopedia/i/io/ionian_mode.htm (352 words)

	Ionian mode (Site not responding. Last check: 2007-08-30)
		The twelfth mode was the plagal version of the Ionian mode, called Hypionian (under Ionian), based on the same relative scale, but with the major third as its tenor, and having a melodic range from a perfect fourth below the tonic, to a perfect fifth above it.
		As mediaeval monophonic church music was replaced by polyphonic music, the folk modes added by Glarean became the basis of the minor/major division of classical European music: the Ionian mode being the major mode.
		The Ionian mode of Glarean is effectively the same as the ancient Greek Lydian mode and the modern major mode.
	www.tocatch.info /en/Ionian_mode.htm (315 words)

	Johannes Nucius - Encyclopedia, History, Geography and Biography
		Nucius, though he represented an aspect of early Baroque practice, looked mainly to the past — and sometimes the distant past — for his examples of rhetorical devices in music.
		He considered Dunstable to be the earliest composer of expressive music (though earlier music may not have been available to him), and other composers he wrote about included Gilles Binchois, Antoine Busnois, Johannes Ockeghem, Heinrich Isaac, Ludwig Senfl, Josquin Desprez, and of course Lassus.
		While some of his book is based on previous writings by Heinrich Glarean and Franchinus Gaffurius, the section on the rhetorical devices in music is original, and signifies the rapidly changing practice during the transitional period between Renaissance and Baroque styles.
	www.arikah.net /encyclopedia/Johannes_Nucius (550 words)

	Adam of Fulda - tScholars.com (Site not responding. Last check: 2007-08-30)
		In Heinrich Glareans Dodecachordon he is described as Francum Germanum, i.e.
		It deals in 7 chapters with an explication, invention and praise of music; in 21 chapters with the human hand, the chant, the voice, the clefs, the mutation and the keys; In 13 chapters with mensural music and in 8 chapters with proportions and consonances.
		The other is a composition in four voices, named O vera lux et gloria by Glarean, but originally belonging to the song Ach hülff mich leid und senlich klag (sic) by Adam of Fulda.
	www.tscholars.com /encyclopedia/Adam_of_Fulda (282 words)

	Encyclopedia: Antoine de FÃ©vin (Site not responding. Last check: 2007-08-30)
		Blois is a city in France, the préfecture (capital) city of the Loir_et_Cher département, situated on the banks of the lower river Loire between Orléans and Tours.
		The Swiss music theorist and biographer Heinrich Glarean, writing in 1547, noted that Févin was a follower of Josquin, and that he died young; he also mentioned him as being a composer of Orleans, though this most likely referred to the association of that city with the court of Louis XII.
		Music theory is a set of systems for analyzing, classifying, and composing music and the elements of music.
	www.nationmaster.com /encyclopedia/Antoine-de-F%E9vin (965 words)

	Jean Mouton (Site not responding. Last check: 2007-08-30)
		Mouton may have been the editor of the illuminated manuscript known as the Medici Codex, one of the primary manuscript sources of the time, which was a wedding gift for Lorenzo de' Medici, who was Duke of Urbino.
		The style of Mouton's music has superficial similarities to that of Josquin Desprez, using paired imitation, canonic techniques, and equal-voiced polyphonic writing: yet Mouton tends to write rhythmically and texturally uniform music compared to Josquin, with all the voices singing, and with relatively little textural contrast.
		Around 1500, Mouton seems to have become more aware of chords and harmonic feeling, probably due to his encounter with Italian music.
	www.tocatch.info /en/Jean_Mouton.htm (742 words)

	Aspects of Early Major-Minor Tonality: Chapter 5 (Site not responding. Last check: 2007-08-30)
		Music theory treatises from the first half of the seventeenth century generally adopt a presentation of the modes that derives from the sixteenth-century theorists Heinrich Glarean and Gioseffo Zarlino.
		Glarean's ordering, while less logical than Zarlino's, did the least violence to the traditional modal theory.
		As a result, as theorists began to move to a new conceptualization of the modes, it was most often Glarean's ordering that was taken as the basis for their work.
	bama.ua.edu /~danderso/diss/chap5.htm (7725 words)

	The Triumphs of Maximilian
		Heinrich Isaac (c.1450 - 1517), Flemish by birth, served Lorenzo de Medici as court composer from 1479 until Lorenzo's death in 1492.
		The theorist Heinrich Glarean has distinguished between the skills of the Phonascus, who could invent new melodies, and the Symphonet, whose skill was in the setting of pre-composed melodies.
		Germany enjoyed the skills of many fine composers in the early 16th century - Heinrich Finck and Thomas Stolzer, for example, both of whom are represented on this CD.
	www.signumrecords.com /catalogue/sigcd004/programme.htm (1441 words)

	Modal Theory of the Renaissance (Site not responding. Last check: 2007-08-30)
		So in a nutshell, Glarean officially gave us the two scales that would become the foundation of almost all of our music.
		Who would have guessed that within around 100 years after the publication of the Dodecachordon, church modes would be all but gone and those two weird new modes would become the core of almost every style of music in the Western hemisphere.
		So the next time you're listening to your favorite Beethoven symphony or Britney's newest single, think about Glarean and his great contribution to music and thank him for the fact that you don't have to listen to "Hit me baby one more time" in the lydian mode.
	people.vanderbilt.edu /~benjamin.t.skinner (880 words)

	The Writings of Boethius (Site not responding. Last check: 2007-08-30)
		The focus on counterpoint and the ecclesiatical modes in treatises after 1400 marginalized Boethius's volume to some extent, but it regained significance with the discovery and translation into Latin of ancient Greek works that Boethius had used as the basis for De institutione musica.
		Franchino Gaffurio, for example, acknowledged Boethius in Theorica musice (1492) as the authoritative source on music-theoretical matters (though he did come to realize that ancient sources disagreed more than Boethius indicated), and Heinrich Glarean relied on Boethius in establishing a theory of twelve modes in the Dodekachordon (1547).
		Readers today study De institutione musica in order to understand the historical evolution medieval music theory and its sources in Greek writings.
	www.stfrancis.edu /ph/hauser/boethius/boeinfo2.htm (332 words)

	The History of the Albert-Ludwig University of Freiburg
		Documentation of many lectures and timed debates has been handed down to us, allowing us to make a fairly vivid reconstruction of academic life in the early years of the university.
		The University of Freiburg was able to make a good reputation for itself in its early years and produced many well-known scholars and personalities, including Johannes Eck, Ulrich Zasius, Jakob Locher, Thomas Murner, Heinrich Glarean, and others.
		The universities in the German Empire were not able to escape the denominational polarization which followed the Reformation.
	www.uni-freiburg.de /all/print/print.php?dateiname=/de/universitaet/geschichte.php&dateiname=/en/universitaet/geschichte.php& (1061 words)

	1563 - Wikipedia, the free encyclopedia
		March 24 - Hosokawa Harumoto, Japanese military leader (born 1514)
		March 28 - Heinrich Glarean, Swiss music theorist (born 1488)
		June 6 - Ikeda Nagamasa, Japanese military commander (born 1519)
	en.wikipedia.org /wiki/1563 (361 words)

	Music and Melancholy: Abstracts (Site not responding. Last check: 2007-08-30)
		Josquin’s motet Planxit autem David, a setting of David’s lament for Saul and Jonathan based upon 2 Samuel 1:17-27, was described by Heinrich Glarean as everywhere expressing most wonderfully the mood of lamenting.
		A cyclic structure is suggested by his comparison of the song to a mourner who (1) sometimes cries aloud, (2) sometimes murmurs subduedly, and (3) sometimes subsides.
		These activities correspond to, respectively, (1) overt statements of the borrowed melody in long note values and the highest-sounding voice, (2) shorter quotations and paraphrases of the incipit, sometimes obvious and sometimes buried in the polyphonic texture, and (3) the absence of overt or less obvious references to the borrowed melody in some passages.
	www.princeton.edu /~rwegman/abstract.htm (2890 words)

	Music History Resources
		Pierre de la Rue (1460-1518): wrote numerous Masses and motets 2.
		Described by Glarean as one of the 'emulators' of Josquin b.
		Missa Noe Noe: based on Mouton's motet 'Noe, noe' Outline compiled and edited by David Papandrew.
	www.geocities.com /papandrew/outlines/grout06.html (1449 words)

	Music Prints Augsburg (Site not responding. Last check: 2007-08-30)
		Besides these volumes of the City Musicians and the few prints that can be proven to come from cloister collections, there are a few from St. Anna and from the private libraries of Gregor Aichinger and Marcus Welser.
		Of the works of music theory, the following are to be especially noted: Hugo Spechtshart's Flores musicae, Strasbourg 1488; Martin Agricola's Musica instrumentalis deudsch, Wittenberg 1529, and his Musica figuralis deudsch, Wittenberg 1532; Nikolaus Listenius's Rudimenta musica, Wittenberg 1533; Heinrich Glarean's Musicae Epitome ex Glareani Dodecachordo, Basel 1559; and Athanasius Kircher's Musurgia universalis, Rome 1650.
		Of the 307 secular and spiritual works of individual composers, the Melopoiae sive harmoniae tetracenticae of Petrus Tritonius (a setting to music of the Odes ofHorace), which appeared in Augsburg in 1507, must be specially mentioned.
	www.haraldfischerverlag.de /hfv/augsburg_prints.htm (1426 words)

	Questions for Topic 5: Music theory, 1400-c (Site not responding. Last check: 2007-08-30)
		What important addition to modal theory was proposed by Heinrich Glarean in Dodecachordon (1547)?
		How did Heinrich Glarean’s Dodecachordan change the concept of mode?
		What two aspects of modal theory did Zarlino link in his music treatises?
	www.arts.arizona.edu /mus530/class-23.htm (356 words)

	[No title]
		Subject: RE: Hypo-phrygian Mode A contemporary work on the curch modes is the `Dodecachordron' by Heinrich Glarean (aka Glareanus).
		Glarean discusses both authentic and plagal modes with reference to many of his day's famous composers, and introduces the ionic and aeolian modes, the ones we call major and minor scales.
		I don't know if the book is available in a modern translation, but the library at our university has a facsimile of the original 16th century text in latin...
	www.wu-wien.ac.at /earlym-l/logfiles/earlym-l.log9201c (6680 words)

	Josquin Conference: Concert Program (Site not responding. Last check: 2007-08-30)
		by Josquin des Prez, Nicolaes Craen, Heinrich Finck, Jean Mouton, Johannes Prioris, Mathurin Forestier, Adrian Willaert, and Nicolas Champion
		He has everywhere expressed most wonderfully the mood of lamenting, as immediately after the beginning of the tenor, at the word "Jonathan."
		This and the following translations from Glareanus quoted from Heinrich Glarean, Dodecachordon, trans.
	www.princeton.edu /~rwegman/concert.html (2559 words)

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