Zarlino's Theories of Text Underlay as Illustrated in His Motet Book of 1549
1985; Music Library Association; Volume: 42; Issue: 2 Linguagem: Inglês
10.2307/897419
ISSN1534-150X
Autores Tópico(s)Music Technology and Sound Studies
ResumoDuring the winter of 1819 Beethoven was deeply immersed in the composition of his Missa solemnis. As the composition progressed and Beethoven began sketching the modal Incarnatus, he apparently called on his friends to help him search out a copy of the book he believed would provide authoritative information on modes and stile antico coun? terpoint, Gioseffo Zarlino's Istitutioni harmoniche of 1558.1 Such has been Zarlino's stature through the centuries that his name has become almost synonymous with musical truth for the sixteenth century. We, like Bee? thoven, turn first to Zarlino when questions of Renaissance music the? ory are raised. The theoretical renown that led even Beethoven to Zarlino has overshadowed the fact that the sixteenth-century theorist was also a com? poser. While critical evaluation of Zarlino's works awaits their availability in modern edition they can serve meanwhile as a source for examples of the theories and precepts he set forth in his treatises. The following study will investigate one group of Zarlino's works?the fivevoice motets of 1549?from that standpoint, particularly as they illustrate, amplify, and clarify his modal theories and his rules for text underlay. It will also demonstrate the usefulness of certain bibliographical evidence in ascertaining how closely the composer may have supervised the publication of the edition. Zarlino spent almost his entire life in Venice and its environs. He was born in Chioggia, the fishing port at the southern entrance to the Vene? tian lagoon. There he began his musical career as a singer and organist at the cathedral. In 1541 he took up residence in Venice itself, and came under the spell of Adrian Willaert, the Flemish composer whose teaching and influence molded the work of a whole generation of com-
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