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Gioseffo Zarlino

Subject: Music

(1517–90). Composer and important music theorist. He worked first in his native Chioggia and from 1541 in Venice. His major treatise, Le istituzioni armoniche (1558), re-examines ...

mode

mode   Reference library

David Hiley

The Oxford Companion to Music

Reference type:
Subject Reference
Current Version:
2011
Subject:
Music
Length:
1,923 words
Illustration(s):
3

...a good deal of support, especially when the eminent theorist Gioseffo Zarlino adopted it in his Istitutioni harmoniche (Venice, 1558 ). In a later edition Zarlino reordered the names and numbers of the 12 modes so that they followed the order of the hexachord (C–D–E–F–G–A). The gradual entry into circulation of more and more Greek texts spread confusion on this point. Medieval theorists since Alia musica had called the D mode Dorian, but Boethius would have called the E one Dorian, and Zarlino now reassigned the name to the C mode. Late Renaissance...

counterpoint

counterpoint   Reference library

Arnold Whittall

The Oxford Companion to Music

Reference type:
Subject Reference
Current Version:
2011
Subject:
Music
Length:
1,791 words
Illustration(s):
4

...convincing way. The culmination of this process during the 16th-century High Renaissance was Gioseffo Zarlino's Le istitutioni harmoniche ( 1558 ), the title of which in English translation, The Art of Counterpoint (not ‘harmony’), offers a neat confirmation of the ambiguity of basic musical terminology. At the heart of Zarlino's treatise is the attempt to define how ‘an artful union of diverse sounds reduced to concordance’ could be achieved, and Zarlino's four basic principles not only codified existing practice but set the standards which have...

Just

Just   Reference library

Mark Lindley

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
3,496 words
Illustration(s):
5

...he called ‘instrumenta perfecta’) he said that G–D was a good 5th but C♯–A♭ must be avoided. Gioseffo Zarlino (1558) argued that although voices accompanied by artificial instruments would match their tempered intonation, good singers when unaccompanied would adhere to the pure intervals of the ‘diatonic syntonic’ tetrachord which he had selected (following the example of Ramis’s disciple Giovanni Spataro) from Ptolemy’s various models of the tetrachord. Zarlino eventually became aware that this would entail a sour 5th in any diatonic scale consisting of...

Acoustics

Acoustics   Reference library

Alexander Rehding

Encyclopedia of Aesthetics (2 ed.)

Reference type:
Subject Reference
Current Version:
2014
Subject:
Art & Architecture, Philosophy
Length:
3,706 words
Illustration(s):
2

...discovery had a lasting effect on musical thought. The important sixteenth-century Venetian music theorist Gioseffo Zarlino ( Le istituzioni harmoniche [Venice 1558 ]) viewed the ratios between 1 and 6 as musically significant, and he built his music-theoretical principle, the senario , on the resulting intervals between these numbers. The eighteenth-century French musician Jean-Philippe Rameau, in turn, built his theories partly on Zarlino’s principles, but he moved these onto an acoustical basis (in his concept of the corps sonore , first formulated...

Temperaments

Temperaments   Reference library

-MARK Lindley

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
19,638 words
Illustration(s):
22

...nr Blankenburg, 1988) K. Wegscheider and H.Schütz : Orgeltemperatur: ein Beitrag zum Problem der Rekonstruktion historischer Stimmungsarten die Orgelrestaurierungen (Michaelstein, nr Blankenburg, 1988) R. Airoldi : La teoria del temperamento nell’età di Gioseffo Zarlino (Cremona, 1989) M.T. Annoni : Tuning, Temperament and Pedagogy for the Vihuela in Juan Bermudo’s ‘Declaración de Instrumentos Musicales’ (1555) (diss., Ohio State U., 1989) R.F. Bates and K. Marshall : ‘A Response from the Custodians: More Thoughts on the Stanford Te...

Piano

Piano   Reference library

Edwin M. Ripin, Stewart Pollens, Edwin M. Ripin, Stewart Pollens, Michael Latcham, Philip R. Belt, Maribel Meisel, Alfons Huber, Michael Cole, Philip R. Belt, Maribel Meisel, Gert Hecher, Anne Beetem Acker, Michael Cole, Beryl Kenyon de Pascual, Michael Latcham, Cynthia Adams Hoover, Cyril Ehrlich, Edwin M. Good, Cyril Ehrlich, Edwin M. Good, Anne Beetem Acker, Robert Winter, Robert Winter, Anne Beetem Acker, and J. Bradford Robinson

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
25,722 words
Illustration(s):
19

...di nuova inventione’ in an inventory of the Medici instruments for 1700 establishes that Cristofori had by then already completed at least one instrument of this kind. A precise date appears in an inscription by Federigo Meccoli (a court musician in Florence), in a copy of Gioseffo Zarlino’s Le istitutioni harmoniche , stating that the ‘ arpi cimbalo del piano e’ forte ’ was invented by Cristofori in 1700. Cristofori’s accomplishment, as seen in his three surviving pianos, all dating from the 1720s, would be difficult to exaggerate. His grasp of the essential...

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