A different mash-up of Alex (Three Musketeers) Dumas and Alex (Flash Gordon) Raymond.After his existential mystery (Why Are You Doing This?), his Parisian famous-writers crime caper (The Left financial institution Gang), and his time-travel tale (I Killed Adolf Hitler), Jason's fourth full-color album could function his loopiest premise but. Set within the current, The final Musketeer stars the by-now centuries previous (for no defined reason...and it isn't important) musketeer Athos, who has been lowered to a suavely dressed yet lifeless near-panhandler buying and selling on his now virtually extinct popularity. (Aramis has forsaken his musketeering methods, and Porthos...well, Porthos isn't really round to any extent further. do not ask.) All this adjustments while sooner or later the Martians assault Earth. without notice there's a want for swashes to be buckled, and Athos leaps again into the fray with a vengeance. Robots, evil alien emperors, attractive alien princesses, rayguns vs. swords, treachery, mystery corridors, insanely cool-looking robots...The final Musketeer is classic sci-fi experience with a distinct twist from an the world over acclaimed cartoonist.
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Bruno Maier, 2d ed. ] POSTSCRIPT Much has been written on Castiglione; mine was not the first article to deal with music in the Cortigiano and will surely not be the last. Some details in my study are clarified in recent work by other scholars. Here are a few suggestions for further reading: On Gafori's acquisition of humanist lore see Claude V. Palisca, Humanism in Italian Renaissance Musical Thought (New Haven, 1985), chapter 9; For a view differing from that of Pirrotta on humanist attitudes toward polyph ony see Reinhard Strohm, The Rise of European Music, 1380-1500 (Cambridge, 1993), 547-50; On Tinctoris in Naples see Ronald Woodley, "Johannes Tinctoris: A Review of the Documentary Biographical Evidence," JAMS 34 (1981): 217-48; see also the same author's "Tinctoris's Italian Translation of the Golden Fleece Statutes: A Text and a (Possible) Context," EMH 8 (1988): 173-244; For information on the viola at the beginning of the sixteenth century see Ian Woodfield, The Early History of the Viol (Cambridge, 1984); On the studiolo of Federico da Montefeltro in Urbino (n.
Prattica, 1592, fol. 87r. 79. , fol. 8r. 80. SeeLilianP. Pruett, "Porta, Costanzo," New Grove, 15:131. 81. 1am grateful to Claude Palisca for calling this pas sage to my attention. 82. " On the use of chant as cantus firmus in Morales's Magnificats see Samuel Rubio, Cristo bal de Morales: Estudio critico de supolifonia (Madrid, 1969), 260-65. 83. Zacconi does not say that the two are being compared, but the sense of the passage is that such a comparison is implied. 106). S I X T E E N τ H - C E N T U R Y M U S I C C R I T I C I S M 19 84.
198. " See James Haar, "The Libro Primo of Costanzo Festa," Acta musicologica 52 (1980): 153, n. 2. 69. It was one of the traditional partesartis rhetoricae. An early treatise of Cicero, De inventione, is devoted entirely to this subject. 70. Prattica, 1622,79,154,260. 71. "Dispositione" appears in the titles of chapters 23 and 24, both of which are con cerned with mensurations and proportions, in book 1 of Prattica, 1622. 72. Prattica, 1622,47. 73. , 37. 74. Prattica, 1592, fol. 212r. 75. Prattica, 1622,60.