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Topic: Pietro Aron

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	pietro aron (Site not responding. Last check: 2007-10-09)
		Later he went to Venice, and after a period of employment there he joined a monastery at Bergamo where he remained until the end of his life; at least one publication dates from this time.
		Aron's significance mainly derives from his treatises on the contrapuntal practice of the period.
		Other topics covered by Aron include the use of the eight modes, four-voice cadences, notation of accidentals, and tuning, which was a difficult and contentious topic prior to the acceptance of equal temperament.
	www.yourencyclopedia.net /pietro_aron.html (243 words)

	Pietro Aretino - Encyclopedia Glossary Meaning Explanation Pietro Aretino (Site not responding. Last check: 2007-10-09)
		Pietro Aretino (1492 - 1556) was an Italian author, playwright, poet and satirist.
		The installation of the prudish Fleming Adrian VI ("la tedesca tigna" in Pietro's words) instead encouraged Aretino to seek new patrons away from Rome, mainly with Federico II Gonzaga in Mantua, and with the condottiere Giovanni de' Medici ("Giovanni delle Bande Nere").
		From the security of Venice Aretino "kept all that was famous in Italy in a kind of state of siege," in Jakob Burckhardt's estimation.
	www.encyclopedia-glossary.com /en/Pietro-Aretino.html (472 words)

	Aron, Pietro, LUCIDARIO IN MUSICA DI ALCUNE OPPENIONI ANTICHE, ET MODERNE CON LE LORO OPPOSITIONI, & RESOLUTIONI, CON ... (Site not responding. Last check: 2007-10-09)
		Aron, Pietro, LUCIDARIO IN MUSICA DI ALCUNE OPPENIONI ANTICHE, ET MODERNE CON LE LORO OPPOSITIONI, & RESOLUTIONI, CON MOLTI ALTRI SECRETI [...] ANCHORA NON DICHIARATI [...]
		First edition and the only edition of the LUCIDARIO of Pietro Aron, the first author who wrote a musical treatise in vernacular.
		The highly theoretical discussion - pertaining to canto piano and figurato and about harmonica aspects of the contrappunto, in which Spadaro, Niccolò Vueso and Aron were involved - deals with the triadic scheme, in which at the 'oppenione' follows a 'oppositione' and a 'resolutione' of the author.
	www.polybiblio.com /bud/18852.html (272 words)

	Pietro Aron -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-09)
		He was born in (A town in northeast South Carolina; transportation center) Florence and probably died in (Click link for more info and facts about Bergamo) Bergamo.
		Aron's significance mainly derives from his treatises on the (Click link for more info and facts about contrapuntal) contrapuntal practice of the period.
		His earliest treatise, De institutione harmonica, is on counterpoint, and interestingly is written in Italian: most scholarly writings of the time are in (Any dialect of the language of ancient Rome) Latin, but Aron preferred the vernacular.
	www.absoluteastronomy.com /encyclopedia/P/Pi/Pietro_Aron.htm (160 words)

	Pietro Aron - Encyclopedia Glossary Meaning Explanation Pietro Aron (Site not responding. Last check: 2007-10-09)
		Pietro Aron - Encyclopedia Glossary Meaning Explanation Pietro Aron.
		Here you will find more informations about Pietro Aron.
		The orginal Pietro Aron article can be editet
	www.encyclopedia-glossary.com /en/Pietro-Aron.html (256 words)

	The Changing Scale (Site not responding. Last check: 2007-10-09)
		Thus we cannot say for sure when the idea of temperament arose, but the problems that it intended to solve were clearly in view by the beginning of the sixteenth century.
		Aron developed a quarter comma meantone temperament without realizing it - named this because the offset of one fourth was applied to the scale with a wolf tone offset of seven fourths.
		Here is Aron's quarter comma meantone temperament scale, reproduced chromatically, and below is a table that shows the offset it creates (table 1).
	www.johnminor.net /writings/overview.htm (2191 words)

	Status of 16 Oct
		The Coronation of a Poet, from Pietro Aretino, Strambotti Sonetti...
		Pietro Aron as a Music Teacher, Surrounded by his Students, from his Trattato della natura...
		Aron strikes the traditional pose of the Melancholic.
	www.unh.edu /music/Icon/iltfits.htm (9596 words)

	hss_bonds_hisofmusic_1\|Chapter 4: The Emergence of Renaissance \|Primary Evidence\|Successive versus Simultaneous ...
		Here, the theorist Pietro Aron (1489–1545) describes this process of simultaneous conception in an account first published in 1529.
		In this 1529 passage, Pietro Aron describes the process of simultaneous composition.
		In your own words, summarize the problems he cites with successive techniques and the reasons he provides arguing that simultaneous procedures are to be preferred.
	wps.prenhall.com /hss_bonds_hisofmusic_1/0,7832,731296-,00.utf8.html (604 words)

	Hope Greenberg graduate Portfolio: HST 225 paper 3
		While Lodovico Fogliano was defending the importance of the ear as opposed to mathematical intervals as the true way to determine consonance and dissonance, Pietro Aron was providing guidance to composers on how to actually work with multiple lines of music simultaneously.
		His madrigals are filled with obvious musical allusions to the words such as running streams, chattering nymphs, etc., but they also contain musical subtleties, images and moods set by the music to bring greater expression to the words.
		He draws from "all who ever wrote of the art of music" (Morley, 121) such as Franchinus Gaffurio, Peter Aron and Glarean, in his attempt to reconcile their theories of the modes with practice.
	www.uvm.edu /~hag/personal/portfolio/225paper3.html (4972 words)

	Summi et Aeterni ORDER
		Palestrina's music continues to be performed and recorded, and to provide models for the study of counterpoint.
		In the 1590s his health began to decline, and he was treated for hypochondria; however he still was able to compose as well as travel occasionally.
		His final work was the exquisite set of 21 madrigale spirituale, the Lagrime di San Pietro (Tears of St. Peter), which he dedicated to Pope Clement VIII, and published posthumously in 1595.
	jeff.ostrowski.cc /productions/summi/order.htm (14935 words)

	Modal Subjectivities: CHAPTER ONE
		In point of fact, his model does not necessarily even help us with much music of the fifteenth century, composed largely without this reworking of mode as part of the precompositional conceptual framework.
		But beginning with Johannes Tinctoris, who states quite off-handedly and without much further explanation that mode also applies to polyphony, a series of intellectuals—including most prominently Pietro Aron and Heinrich Glareanus, in addition to Zarlino—grappled with formulating theories of modal polyphonic practice.
		But as Pietro Aron discovered when he attempted to analyze contemporary practice, some compositions of the time also shape themselves around C and A as apparent finals.
	www.ucpress.edu /books/pages/9828/9828.ch01.html (10815 words)

	Dolmetsch Online - Music Theory Online - Pitch, Temperament & Timbre
		Pietro Aron produced a more thorough analysis in Toscanello in Musica (1523), which sufficed for all practical purposes.
		What happened after this to complete the chromatic scale introduced a number of variants which only the more studious of our readers are likely to pursue.
		Suffice it to point out that the results generally work well in the keys C, G, D, F and B flat but outside these serious problems arise and composers writing for this system avoided keys more distant from C. Pietro Aron's description of meantone tuning is the best known.
	www.dolmetsch.com /musictheory27.htm (6541 words)

	Lecture 7: Renaissance Music I
		Because of this composers began to write parts simultaneously, listening to the totality of the sound.
		Now that you understand this important contrast between successive and simultaneous composition you’ll be able to appreciate the words of the musical theorist Pietro Aron in 1524.
		He talked about the various parts of a piece (cantus, tenor, contrabass), and compared the old style of composing to the new:
	www.omnidisc.com /MUSIC/Lecture7.html (1647 words)

	Stichting Huygens-Fokker: A.D. Fokker: Introduction Simon Stevin
		In order to have perfect major thirds (as between 480 = 5 × 96 and 384 = 4 × 96), a small infringement is thereby made of the perfect fifths.
		26) gives the credit for the first description of this method of tuning to Pietro Aron (Toscanello in musica, Venice, 1523).
		It is the mean-tone temperament, strongly advocated by Gioseffo Zarlino (1517-1590; Stevin occasionally calls him Meester Sarlijn) and by Francesco Salinas (1577), two great early legislators of music.
	www.xs4all.nl /~huygensf/doc/stevinsp.html (3061 words)

	Physics 36 / Music 36 Handout 18 (Site not responding. Last check: 2007-10-09)
		The text, however, admonishes the reader to narrow each fifth by "tant soit peu" ("ever so little") so that the thirds in major triads specified for tests throughout the sequence are "good".
		This would appear to be an exact, reproducible prescription for a tuning only if the thirds were made exact, which would make "Lambert Chaumont 1695" precisely the same as the quarter comma meantone tuning published in 1523 by Pietro Aron.
		This organ is used in a liturgical context to perform solo works and to accompany processions and other hymns.
	www.phy.duke.edu /~dtl/36hi_chl.html (4251 words)

	Any experience on Rans or Volae? - 'BentRider Online Forums (Site not responding. Last check: 2007-10-09)
		So why not say where you live and see what happens?
		Send a private message to Pietro di Giro
		My only thought is that I personally don't like a bike with a carbon fork if I'm going to put much load on it or tow anything.
	bentrideronline.com /messageboard/showthread.php?p=57770&mode=linear (1023 words)

	Stichting Huygens-Fokker: Simon Stevin: On the theory of the art of singing
		This solution was put forward by Zarlino in his Dimostrationi harmoniche in 1571 (Ragionamento quinto).
		Full credit for the first description of this solution is given by Barbour to Pietro Aron (Venice, 1523).
		For him the problem does not exist, or rather: he puts x = -1/12 comma, this being the difference between his fifth and the Pythagorean fifth of 3/2.
	www.xs4all.nl /~huygensf/doc/singe.html (8270 words)

	Dictionary of the History of Ideas
		In the same vein, the Florentine music theorist Pietro
		Aron, a friend of Spataro who figures in the latter's
		Experience teaches that some who have practiced the art
	etext.lib.virginia.edu /cgi-local/DHI/dhi.cgi?id=dv2-37 (8715 words)

	Buddenbrooks, Inc.
		Beke, Charles T. Ph.D, F.S.A, etc REASONS FOR RETURNING THE GOLD MEDAL OF THE GEOGRAPHICAL SOCIETY OF FRANCE AND FOR WITHDRAWING FROM ITS MEMBERSHIP; In a Letter to M. De La Roquette, General Secretary of the Central Committee of the Geographical Society of France London James Madden 1851
		Bellori, Giovanni Pietro VITE DE PITTORI, SCULTORI ET ARCHITETTI MODERNI.
		Bembo, Pietro PROSE NELLE QUALI SI RAGIONA DELLA VOLGAR LINGUE Venice Giovanni Tacuino 1525
	polybiblio.com /bud (13649 words)

	Medieval Renaisssance Music
		34, Pietro Aron, From Treatise on the Nature and Recognition of All the Tones
		12, Pietro Bembo, Letter to His Daughter Elena
		7, Pietro Cerone, From El melopeo y maestro
	www.columbia.edu /ccnmtl/draft/ben/perkins/course_syllabus.html (1637 words)

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