By James Haar
As a exotic student of Renaissance tune, James Haar has had an abiding impression on how musicology is undertaken, owing in nice degree to a considerable physique of articles released during the last 3 many years. accrued the following for the 1st time are consultant items from these years, masking different issues of continuous curiosity to him and his readers: track in Renaissance tradition, difficulties of concept in addition to the Italian madrigal within the 16th century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the 19th century's perspectives of early music.
In this assortment, an analogous topic is noticeable from numerous angles, and therefore supplies a wealthy context for extra exploration. Haar was once one of many first to acknowledge the worth of cultural research. His paintings additionally reminds us that the shut learn of the song itself is both very important. The articles contained during this publication exhibit the author's conviction good distance to deal with huge difficulties is to start by means of concentrating on small ones.
Originally released in 1998.
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Extra resources for The Science and Art of Renaissance Music
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.