You are looking at 1-18 of 18 entries  for:

  • All: Gioseffo Zarlino x
  • Type: Subject Reference x
clear all

View:

Overview

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 ...

Zarlino, Gioseffo

Zarlino, Gioseffo (1517–90)   Reference library

The Oxford Companion to Italian Literature

Reference type:
Subject Reference
Current Version:
2005
Subject:
Literature
Length:
58 words

..., Gioseffo ( 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 the traditional philosophical bases of music, and proposes a more modern system to replace the Greek tones. Vincenzo Galilei , however, pointed out numerous misunderstandings of ancient sources. [ Francesca Chiarelli...

Zarlino, Gioseffo

Zarlino, Gioseffo (?31 Jan 1517)   Reference library

Claude V. Palisca

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
910 words

...Zarlino, Gioseffo [ Gioseffe ] ( b Chioggia, Italy , ?31 Jan 1517 ; d Venice, Italy , 4 Feb 1590 ). Italian theorist and composer . His book Le istitutioni harmoniche (1558) is especially important for its discussion of intervals and tuning. Zarlino received his early education among the Franciscans. He is recorded at Chioggia Cathedral as a singer in July 1536 and as an organist in 1539–40. He must have been ordained by 1540, because on 27 April he was elected ‘capellano’ and mansionario of the Scuola di S Francesco, Chioggia. He moved...

Zarlino, Gioseffo

Zarlino, Gioseffo (31 Jan. 1517)   Reference library

Denis Arnold and Lalage Cochrane

The Oxford Companion to Music

Reference type:
Subject Reference
Current Version:
2011
Subject:
Music
Length:
168 words

...Zarlino, Gioseffo ( b Chioggia , ? 31 Jan. 1517 ; d Venice , 4 Feb. 1590 ). Italian theorist . He was educated among the Franciscans and eventually joined their order. After completing his novitiate he moved to Venice in 1541 , where he devoted himself to music, studying with Willaert . He became maestro di cappella at St Mark's in 1565 and remained in that post until his death. The leading theorist of his time, he is best known for his treatise Le istitutioni harmoniche (Venice, 1558 / R 1965 ), in which he tried to elucidate Greek music...

Galilei, Vincenzo

Galilei, Vincenzo (1520–91)   Reference library

The Oxford Companion to Italian Literature

Reference type:
Subject Reference
Current Version:
2005
Subject:
Literature
Length:
78 words

...Vincenzo ( 1520–91 ). Music theorist , composer , and father of Galileo Galilei . He trained in Venice with Gioseffo Zarlino (with whom he later disagreed over the interpretation of ancient musical sources). He then became a major figure in the Camerata de' Bardi in Florence , attempting to revive the union between music and poetry characteristic of ancient Greek tragedy, and writing ‘monodic’ compositions with simple harmonies, as theorized in his Dialogo della musica antica e moderna ( 1581 ). [ Francesca Chiarelli...

Marco, Guy A(nthony)

Marco, Guy A(nthony) (4 Oct 1927)   Reference library

Siegmund Levarie and Mark McKnight

The Grove Dictionary of American Music (2 ed.)

Reference type:
Subject Reference
Current Version:
2013
Subject:
Music, Social sciences, Regional and Area Studies
Length:
293 words

...library planning, and has written numerous articles and reviews on librarianship as well as on 17th- and 18th-century music and on opera. Writings with C. Palisca , ed.: The Earliest Music Printers of Continental Europe (Charlottesville, VA, 1962) with C. Palisca , ed.: Gioseffo Zarlino: le istitutioni harmoniche , iii: the Art of Counterpoint (New Haven, CT, 1968/ R ) Information on Music: a Handbook of Reference Sources in European Languages (Littleton, CO, 1975–84) Opera: a Research and Information Guide (New York, 1984, 2/2001) E.T. Bryant , ed.: ...

Colombi, Vincenzo

Colombi, Vincenzo   Reference library

Loris Stella

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
451 words

...of a new organ for the basilica, with 10 stops and a manual compass of 50 notes. This important contract was followed by instruments in Venice, Bologna, Urbino, Pesaro, and Milan. About 1550 Nicola Vicentino entrusted him with the construction of the archiorgano . For Gioseffo Zarlino he constructed a monochord to enable exploration of harmonic intervals. He appears also to have made an instrument for the mathematician Ettore Ausonio. Colombi’s organs had keyboards of 50, 47, or 41 notes (with short octave), and after 1550 with the ‘Spanish addition’ ( aggiunta...

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...

music and science

music and science   Reference library

The Oxford Companion to the History of Modern Science

Reference type:
Subject Reference
Subject:
Science and technology, History of Science
Length:
1,912 words

...of musical instruments, especially the vibration of strings, increasingly became the subject of philosophical enquiry. In his Istitutioni harmoniche ( 1558 ), the Venetian composer and music theorist Gioseffo Zarlino presented a new theory of consonance, which he claimed had been tested experimentally. The lutenist Vincenzio Galilei disputed Zarlino's scenario, and in the process became the first person to check the results of Pythagoras's legendary experiments with hammers, strings, and other sounding bodies. He proved that most of them were wrong. ...

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...

Music

Music   Reference library

Encyclopedia of Rhetoric

Reference type:
Subject Reference
Current Version:
2006
Subject:
Language reference, Linguistics
Length:
6,176 words

...” (The composer should also strive to make the song pleasantly correspond to the words of the song). This is because of the composer's intended effect of the music, which is still obligated to follow ethical standards, as Agrippa von Nettesheim emphasized ( 1532 ). Gioseffo Zarlino's Institutioni harmoniche (Venice, 1558 ) postulates then that music results in oratione , and discusses the effects of music. Simultaneously, with deepened explication of the text, consciousness focused on the artistic means that had replaced rhetoric. Marchettus of...

Microtonal instruments

Microtonal instruments   Reference library

Hugh Davies and Alexander Bonus

The Grove Dictionary of Musical Instruments (2 ed.)

Reference type:
Subject Reference
Current Version:
2015
Subject:
Music
Length:
5,807 words

...and Gioseffo Zarlino, who investigated systems of 17 and 19 notes to the octave and contributed significantly to the development of 12-note ET. In the 17th century Nicolaus Mercator suggested 53 equal divisions of the octave and Marin Mersenne and Christiaan Huygens 31; these result virtually in just intonation and meantone temperament respectively. A few microtonal instruments with enharmonic keyboards were constructed during this period for the performance of music in specific intonations. In Venice Domenico da Pesaro built for Zarlino an enharmonic...

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...

Music

Music   Reference library

Edward A. Lippman

Encyclopedia of Aesthetics (2 ed.)

Reference type:
Subject Reference
Current Version:
2014
Subject:
Art & Architecture, Philosophy
Length:
7,901 words

...growing interest in expression, which was motivated chiefly by an increasing concern with the text, upset the balance of this ars perfecta . Aesthetics appears in the writings of the leading musical theorists around the middle of the century—Glearanus, Nicola Vicentino, and Gioseffo Zarlino. Established rules are relaxed in favor of the expression (or “imitation”) of the concepts and affects represented by the words, and authority for the innovations is found in ancient Greek writings, notably those of Plato and Aristotle. The object of the musical imitation...

Music

Music   Reference library

Encyclopedia of Aesthetics

Reference type:
Subject Reference
Current Version:
2008
Subject:
Art & Architecture, Philosophy
Length:
10,420 words

...interest in expression, which was motivated chiefly by an increasing concern with the text, upset the balance of this ars perfecta . Aesthetics appears in the writings of the leading musical theorists around the middle of the century— Glearanus , Nicola Vicentino , and Gioseffo Zarlino . Established rules are relaxed in favor of the expression (or “imitation”) of the concepts and affects represented by the words, and authority for the innovations is found in ancient Greek writings, notably those of Plato and Aristotle . The object of the musical imitation...

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...

Libraries and collections

Libraries and collections   Reference library

Mary Wallace Davidson, D.W. Krummel, and James P. Cassaro

The Grove Dictionary of American Music (2 ed.)

Reference type:
Subject Reference
Current Version:
2013
Subject:
Music, Social sciences, Regional and Area Studies
Length:
45,565 words

...Gaffurius , Vincenzo Galilei , Heinrich Glarean , John Hawkins , Athanasius Kircher , F.W. Marpurg , G.B. Martini , Johann Mattheson , Marin Mersenne , Thomas Morley , Michael Praetorius , W.C. Printz , J.-P. Rameau , J.-J. Rousseau , Johannes Tinctoris , and Gioseffo Zarlino . Special collections of autograph music MSS, sketches, correspondence, personal papers, scrapbooks, and photographs not only by and about the collectors but also by and about other composers, musicians, and dancers include those of George Antheil , Harold Bauer , Ernest...

View: