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by Gioseffo Zarlino

Gioseffo_Zarlino Encyclopedias_and_Subject_Guides English
  • ISBN: 0393008339
  • Category: Reference
  • Author: Gioseffo Zarlino
  • Subcategory: Encyclopedias & Subject Guides
  • Other formats: doc docx mbr lrf
  • Language: English
  • Publisher: W. W. Norton & Company (November 17, 1976)
  • Pages: 320 pages
  • FB2 size: 1689 kb
  • EPUB size: 1636 kb
  • Rating: 4.5
  • Votes: 399
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I focused on the central section that prescribed how to write counterpoint

Zarlino was learned in the classics and was ordained as a priest. I focused on the central section that prescribed how to write counterpoint. I was surprised that the chapters on double counterpoint did not include how to write at the 8tv.

The Art of Counterpoint book. The Art of Counterpoint (The Norton library). 0393008339 (ISBN13: 9780393008333). Zarlino’s Le Istitutioni harmoniche, published in 1558, is one of the most influential music treatises of all time. To his contemporaries it revealed the secrets of composition he had learned from Adrian Willaert, who brought to Italy the polyphonic art of the Netherlands.

Zarlino’s Le Istitutioni harmoniche, published in 1558, is one of the most influential music treatises of all time. 9. The Art of Counterpoint: Part Three of Le Istitutioni harmoniche, 1558 (The Norton library). To the modern scholar Zarlino’s treatise illumines the compositional technique of the golden age of vocal polyphony. Published by W. W. Norton & Company.

On the Modes: Part Four of Le Istitutioni Harmoniche, 1558. Music Theory Translation Series). The Art of Counterpoint: Part Three of Le Istitutioni Harmoniche, 1558. by Guy A. Marco and Claude V. Palisca. New York: The Norton Library, 1968. Le Istitutioni Harmoniche. Veneza: Gioseffo Zarlino, 1558. Citations (0). References (3).

Please feel to write if you have more questions. I've taught counterpoint for many years. 266 views · View 1 Upvoter. What are the best books for analyzing and learning the music of Johann Sebastian Bach? Do any composers compare to . Bach's mastery in counterpoint?

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Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic ba. The Art of Counterpoint Part Three of Le Istitutioni harmoniche, 1558 by Gioseffo Zarlino 9780393008333 (Paperback, 2007) Delivery UK delivery is usually within 7 to 9 working days. Read full description. See details and exclusions. See all 3 brand new listings.

Le Istitutioni Harmoniche. by. Zarlino, Gioseffo. ark:/13960/t70v9pz0k.

Gioseffo Zarlino, The Art of Counterpoint, Part Three of Le Istitutioni Harmoniche, 1558,, Yale University Press, New Haven and London, 1968. 2. David J. Benson, Music: a mathematical offering, Cambridge University Press, Cambridge, 2007. 3. Dénes König, Theorie der endlichen und unendlichen Graphen. Kombinatorische Topologie der Streckenkomplexe, Akademische Verlagsgesellschaft, Leipzig, 1936.

Le istitutioni harmoniche di M. Gioseffo Zarlino da Chiogga, nelle quali oltra le materie appartenti alla musica, si trovano dichiarati molti luoghi vedere. I-Catalogue NumberI-Cat.

“Translated by Professors Marco and Palisca in an exemplary manner, [Part III concerns] the materials and methods of composition . . . for voices. . . . [The] eighty chapters [are] arranged in a logical progression of intricacy, beginning with the materials of counterpoint, intervals, rules of consonance and dissonance, and proceeding finally . . . to a discussion of chromaticisim and its faults.” ―Journal of the American Musicological Society

Zarlino’s Le Istitutioni harmoniche, published in 1558, is one of the most influential music treatises of all time. To his contemporaries it revealed the secrets of composition he had learned from Adrian Willaert, who brought to Italy the polyphonic art of the Netherlands. To the modern scholar Zarlino’s treatise illumines the compositional technique of the golden age of vocal polyphony. The essence of this art is contained in Part III, “The Art of Counterpoint,” which is here translated into English for the first time.
Reviews about The Art of Counterpoint: Part Three of Le Istitutioni harmoniche, 1558 (The Norton library) (4):
Olma
I learned a lot more about the development of early music composition reading this book than T. Morley's not so Plain and not so Easy Introduction to Music. The problem with Morley's book was understanding earlier notation. This is usually reserved for "smmmug" graduate courses in Musicology just like Zarlino's. The idea being to hide knowledge and keep students ignorant while the "Weeno (and you don't)" teachers know everything and the fawning students know nothing is convenient for certain professors. Whom does this remind you of? The book has 80 short chapters, and it starts of with dull explanations of chords/intervals and ends in the same boring manner with a thorough discussion of early rhythmic principles. I have little complaint about this though because the former material would be of great value to music theorists while latter must be studied by those whose teach such. Essentially, this book is one of the few links to the past practices of Renaissance polyphony. Zarlino was learned in the classics and was ordained as a priest. I focused on the central section that prescribed how to write counterpoint. I was surprised that the chapters on double counterpoint did not include how to write at the 8tv. I found the chart on doublings or chord forms on pages 182-83 goobledyguck allowing so many voice crossings. Later he shows some curious examples of dissonant 4ths on the beat above suspensions, which are like long accented neighboring tones. Nowhere that I can recall does G. E. Soderlund mention this practice in his book. Finally, I recommend "The Art" for anyone who desires to teach modal counterpoint and to study it thoroughly.
White_Nigga
With the wealth of information contained in this book, I am surprised it hasn’t become as popular as many of the other treatises on music composition--especially considering that it is only the third of a series of four books on music. What I found particularly fascinating was Zarlino’s constant use of arithmetic and reason to explain and demonstrate the rules and practices he presents (and sometimes refutes). This merging of philosophy and pedagogy will be greatly appreciated by anyone seeking a deeper understanding of counterpoint as an art structured by arithmetic and geometry.
Ballardana
My low rating concerns the quality of the product as reprinted by Norton in paperback form. The book that comes as ordered new is a cheap facsimile apparently of an original edition by Yale University Press. There was no consideration towards reformatting and 1/4 of the page at the bottom is unused, leaving impractically small text in an already compact book. This is worsened by the dimness of the font itself caused by what is essentially a xerox.
roternow
I had read this book once in 1991. Now again.
This work is essential to anyone who likes to put the historical and technical development of musical structure in perspective. The introductory pages alone bring some good light to basic concepts of music. Zarlino's pages express his times in aesthetic needs and his own opinion about (his) contemporary styles.

Daily read in small portions that will be enriching and delightful - or -
Serious study that will open one's perceptions further into polyphonic and more modern music.

I couldn't ask for more...

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