A Sixteenth-Century Attempt at Music Criticism

Journal of the American Musicological Society

Volumn 36, Issue 2, 1983, Pages 191-209

  Haar, James ^a  

^a UNIVERSITY OF NORTH CAROLINA   (United States)

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[No Author keywords available]

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EID: 84968136095     PISSN: 00030139     EISSN: None     Source Type: Journal    
DOI: 10.2307/831063     Document Type: Article

References (37)

1. James Haar, “Notes on the ‘Dialogo della Música’ of Antonfrancesco Doni,” Music & Letters, XLVII (1966), 198-224, esp. 218-21.
2. Giustiniani’s treatise, dated 1628, is printed in Angelo Solerti, Le origini del melodramma (Turin, 1903; repr. Hildesheim, 1969), pp. 98-128.
3. An English translaion, by Carol MacClintock, has been published (in a volume containing Ercole Bottrigari’s II desiderio as well) in Musicological Studies and Documents, Vol. IX (American Institute of Musicology, 1962).
4. see James Haar, “The Courtier as Musician: Castiglione’s View of the Science and Art of Music,” in Castiglione: The Ideal and the Real in Renaissance Culture, ed. Robert W. Hanning and David Rosand (New Haven, 1983), pp. 165-89.
5. See George Nugent, “Gombert,” The New Grove Dictionary (London, 1980), VII, 512, for a citation of this passage from Finck’s Practica musicae of 1556.
6. See Bottrigari, Il desiderio, ed. MacClintock, pp. 61-62.
7. Lodovico Zacconi, Prattica di Música Seconda Parte. Divisa, e distinta in Quattro Libri. Ne quali primieramente si tratta de gVElementi Musicali; cioè de primi principtj come necessarij alia tessitura e formatione delle Compositioni armoniali … (Venice, 1622; repr. Bologna, 1967; henceforth Prattica, 1622), pp. 49-50 (“De i riti e maniere c’hanno havuto molti Musici, in haver composto le loro Musiche armoniale”).
8. Friedrich Chrysander, “Lodovico Zacconi als Lehrer des Kunstgesanges,” Vierteljahrsschrift für Musikwissenschaft, VII (1891), 337—96; IX (1893), 249-310; X (1894), 531-67. The passage is cited in Χ, 542-43.
9. Prattica, 1622, pp. 53-54.
10. See Francesco Vatielli, “Un musicista pesarese del secoio XVI,” Cronaca musicale, VIII (1904), 65-74.
11. Francesco Vatielli, “Di Ludovico Zacconi: Ulteriori notizie su la vita e le opere,” Cronaca musicale, XVI (1912), 51-60, 83-92, 103-11 (both repr. Bologna, 1968).
12. Hermann Kretzschmar, “Lodovico Zacconis Leben auf Grund seiner Autobiographie,” Jahrbuch der Musikbibliothek Peters, XVII (Leipzig, 1911), 45-59.
13. Hellmut Federhofer, Musikpflege and Musiker am Grazer Habsburgerhof der Erzherzöge Karl und Ferdinand von Innerösterreich (1564-1619) (Mainz, 1967), pp. 140-41.
14. For a new summary of Renaissance attitudes toward various compositional uses of pre-existent musical material, Howard Mayer Brown, “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance,” this Journal, XXXV (1982), 1-48.
15. On these various topics see Prattica, 1622, pp. 49 and 55-56.
16. Zarlino, who certainly knew Quintilian, draws heavily upon the Institutio oratoria and may even have chosen the title of his own major work in imitation of it. Warren Kirkendale, “Ciceronians versus Aristotelians on the Ricercar as Exordium from Bembo to Bach,” this Journal, XXXII (1979), 30, n. 153.
17. Quintilian, Institutio oratoria, ed. and trans. H. E. Butler (Cambridge, Mass., 1922), I, 382-83 (III. iii. 1): “Omnis autem orandi ratio, ut plurimi maximique auctores tradiderunt, quinqué partibus constat, inventione, dispositione, elocutione, memoria, pronuntiatione sive actione.”.
18. Institutio oratoria, I, 344-45 (II. xvii. 41): “Ars est potestas via, id est ordine, efficiens, esse certe viam atque ordinem in bene dicendo nemo dubitaverit.” Zarlino paraphrases this sentiment in many places.
19. Zarlino, Sopplimenti musicali (Venice, 1588; repr. Ridgewood, N.J., 1966), p. 23.
20. Istitutioni harmoniche, 3rd ed. (Venice, 1573; repr. Ridgewood, N.J., 1966), p. 171.
21. Sopplimenti, p. 75: “i Colorí о Arie di esse Cantilene … contenuti nelle Modulationi delle loro parti.”.
22. Istitutioni harmoniche, p. 14: “la Modulatione, overo il Cantare”.
23. cf. Sopplimenti, pp. 9, 14 (“una Modulatione, over’Aria”), and 279.
24. Vitruvius, On Architecture, ed. and trans. Frank Granger (Cambridge, Mass., 1931), I, 270-71 (V. iv. 3).
25. Quintilian, Institutio oratoria, I, 170-71 (II. x. 22).
26. De música, I. ii.
27. Istitutioni harmoniche, pp. 171, 96.
28. Vitruvius, On Architecture, I, 280-81 (V. v. 6).
29. Quintilian, Institutio oratoria, IV, 92-93 (X. ii. 27), in which there is mention of those portions of a speech “quae delectationi videantur data.”.
30. Heinrich Glareanus, Dodecachordon (Basel, 1547; repr. Hildesheim, 1969), p. 175.
31. Zarlino, Istitutioni harmoniche, p. 13: “essendo l’ufíicio propio della Música il dilettare.”.
32. Istitutioni harmoniche, p. 89.
33. Prattica, 1622, p. 199.
34. James Haar, “The Libro Primo of Costanzo Festa,” Acta musicologica, III (1980), 153, n. 2.
35. See Lilian P. Pruett, “Costanzo Porta,” The New Grove Dictionary, XV, 131.
36. See Frieder Rempp, ed., Die Kontrapunkttraktate Vincenzo Galileis (Cologne, 1980), p. 145.
37. See Knud Jeppesen, “Ueber einen Brief Palestrinas,” in Festschrift Peter Wagner zum 60. Geburtstag, ed. Karl Weinmann (Leipzig, 1926), pp. 100-107.