History of the Modern Music of Western Europe; From the First Century to the Present Day, with Examples, and an Appendix, Explanatory of the Theory of the Ancient Greek Music
History of the Modern Music of Western Europe; From the First Century to the Present Day, with Examples, and an Appendix, Explanatory of the Theory of the Ancient Greek Music
Das historische Buch konnen zahlreiche Rechtschreibfehler, fehlende Texte, Bilder, oder einen Index. Kaufer konnen eine kostenlose gescannte Kopie des Originals (ohne Tippfehler) durch den Verlag. Nicht dargestellt. 1848 edition. Auszug: ...and even the reformer of theory, --Costanzo Porta, one of the greatest masters in the art of counterpoint, --and many other eminent composers, men of science, and writers (to say nothing of Alfonso della Viola, Nicolo Vicentino and others) were Willaert's pupils; and the pupils of these ...
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Das historische Buch konnen zahlreiche Rechtschreibfehler, fehlende Texte, Bilder, oder einen Index. Kaufer konnen eine kostenlose gescannte Kopie des Originals (ohne Tippfehler) durch den Verlag. Nicht dargestellt. 1848 edition. Auszug: ...and even the reformer of theory, --Costanzo Porta, one of the greatest masters in the art of counterpoint, --and many other eminent composers, men of science, and writers (to say nothing of Alfonso della Viola, Nicolo Vicentino and others) were Willaert's pupils; and the pupils of these again established themselves in numerous towns of Upper Italy, where they composed and taught; by these means greatly extending the art and science of music. Willaert was the first, as far as we know, who produced compositions for a greater number of voices than had previously appeared, namely, for six or seven; not in Canon, plures ex una, as was formerly the case; but, according to the testimony of Zarlino, he was also the inventor of compositions for two and three choruses, a species which was deservedly much liked and generally adopted, not only on account of the greater facility which it afforded to the singers in their performance of grand compositions without the aid of instruments, but also for the changes and union of the choruses and the superb effects thus occasioned, particularly in the larger churches of Italy, where there was always a sufficient number of voices for this purpose. The inventor of this species of composition had even from the beginning attached to it the normal law, invariably to be observed, that, in the union of the choruses, each one was compelled to contain separately within itself a regular and perfect harmony. Willaert ended his industrious and praiseworthy career in 1563. His celebrated pupil, Cipriano de Rore, immediately succeeded him in the office of maestro at St. Mark's, and he was in turn succeeded two years afterwards by Zarlino. Many other Belgians flourished during the epoch of Willaert, in the...
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All Editions of History of the Modern Music of Western Europe; From the First Century to the Present Day, with Examples, and an Appendix, Explanatory of the Theory of the Ancient Greek Music
