FOOTNOTES:[98]The word monody may be applied to the purely melodic, unaccompanied music of ancient times and the plain-song era, which, however, is better described as homophony, in contradistinction to monody in the present sense, namely, solo melody with instrumental accompaniment. In monodic music the upper voice predominates throughout and determines the harmonic structure. In vocal polyphony, or counterpoint, the principal voice (cantus firmus) was usually in the tenor, and had no such determining significance.[99]Dante’sballatewere everywhere known and sung, according to Saccheti’s novels, and when Dante overheard a blacksmith singing his song he scolded him for having altered it. Dante himself was, according to an anonymous writer of the thirteenth century,dilettore nel canto e ogni suono.[100]F. J. Fétis:Hist. Gén. de la Musique, V. 308.[101]Joh. Wolf:Geschichte der Mensuralnotation von 1260-1450(2 vols., 1904).[102]Cf.H. Riemann:Handbuch der MusikgeschichteI², pp. 305 ff.[103]H. Riemann:Op. cit., I², pp. 305 ff.[104]H. Riemann:Op. cit., I², pp. 305 ff.[105]J. A. Symonds: ‘Renaissance in Italy,’ Vol. II.[106]During 1471 to 1488 Josquin was at the papal chapel in Rome. His popularity there is illustrated by the following episode. When a motet was performed in a distinguished social circle it passed almost without notice until the hearers became aware that Josquin was its composer, when all hands promptly proceeded to express their admiration of it.[107]B. Chioggia (Venice), 1517; d. Venice, 1590; was a pupil of Willaert. In 1565 succeeded Cipriano de Rore asmaestroat St Mark’s. Most of his compositions have been lost. His theoretical works were of the greatest importance. Like M. Hauptmann later, he already recognized but one kind of third, the major, and distinguishes the thirds of the major and minor triad not by size but by position, upon which principle he based the entire theory of harmony. Only the introduction of the thorough bass soon after, which reckoned all intervals from the bass up, prevented a development of this rational theory. (Cf. Riemann:Gesch. der Musiktheorie, pp. 369 ff.)[108]Cf.Chap. X, pp. 284 ff.[109]The frottola ‘stood midway between the strict and complicated madrigal and thevillottaorvillanella, which was a mere harmonization of a tune; and in fact as the use of counterpoint increased it disappeared, its better element went into the madrigal, its lower into thevillanella.—Grove’s ‘Dictionary.’‘If we consider the frottole as contrapuntal exercises they appear very meagre. If, however, we consider them as attempts to free thecantabilemelody, the declamatory rhythm which is analogous to the verse metre, from the imitative web, and as an attempt to endow musical pieces with architectural symmetry in the construction of its consecutive (not simultaneous) elements they are significant phenomena.’—Ambros.[110]‘History of Music,’ III, 303.[111]The inscriptionCromatici, a note nereon the title page of some of di Rore’s madrigals, which has been thought to indicate the chromatic nature of these compositions, refers, as Riemann clearly shows (Handbuch der MusikgeschichteII¹. 411), simply to the color of the notes,cromabeing a current name for the eighth note since early times.[112]Musikgeschichte in Beispielen.Excerpt, etc., inHandbuch der Musikgeschichte, II¹. 407 ff.[113]That these vocal compositions were often performed entirely by instruments is indicated by the direction which we meet frequently on sixteenth century title pages: ‘practical for all instruments.’ The kind of instruments was not indicated and the choice was left to the direction of the performer. Not till the end of the century did musicians begin to discriminate and to recognize the value of instrumental timbre. In theintermezziarrangements of madrigals, etc., were often performed by many instruments, as for instance in those produced in 1565 by Striggio and Fr. Corteccia (d. 1571), who assembled an orchestra of 2 clavicembali, 4 violini, 1 liuto mezzano, 1 cornetto muto, 4 tromboni, 1 flauti diritti, 4 traverse, 1 liuto grosso, 1 sotto basso di viola, 1 soprano di viola, 4 liuti, 1 viola d’arco, 1 lirone, 1 traverso contralto, 1 flauto grande tenore, 1 trombone basso, 5 storte, 1 stortina, 2 cornetti ordinarii, 1 cornetto grosso, 1 dolzaina, 1 lira, 1 ribecchino, 2 tamburi.
FOOTNOTES:
[98]The word monody may be applied to the purely melodic, unaccompanied music of ancient times and the plain-song era, which, however, is better described as homophony, in contradistinction to monody in the present sense, namely, solo melody with instrumental accompaniment. In monodic music the upper voice predominates throughout and determines the harmonic structure. In vocal polyphony, or counterpoint, the principal voice (cantus firmus) was usually in the tenor, and had no such determining significance.[99]Dante’sballatewere everywhere known and sung, according to Saccheti’s novels, and when Dante overheard a blacksmith singing his song he scolded him for having altered it. Dante himself was, according to an anonymous writer of the thirteenth century,dilettore nel canto e ogni suono.[100]F. J. Fétis:Hist. Gén. de la Musique, V. 308.[101]Joh. Wolf:Geschichte der Mensuralnotation von 1260-1450(2 vols., 1904).[102]Cf.H. Riemann:Handbuch der MusikgeschichteI², pp. 305 ff.[103]H. Riemann:Op. cit., I², pp. 305 ff.[104]H. Riemann:Op. cit., I², pp. 305 ff.[105]J. A. Symonds: ‘Renaissance in Italy,’ Vol. II.[106]During 1471 to 1488 Josquin was at the papal chapel in Rome. His popularity there is illustrated by the following episode. When a motet was performed in a distinguished social circle it passed almost without notice until the hearers became aware that Josquin was its composer, when all hands promptly proceeded to express their admiration of it.[107]B. Chioggia (Venice), 1517; d. Venice, 1590; was a pupil of Willaert. In 1565 succeeded Cipriano de Rore asmaestroat St Mark’s. Most of his compositions have been lost. His theoretical works were of the greatest importance. Like M. Hauptmann later, he already recognized but one kind of third, the major, and distinguishes the thirds of the major and minor triad not by size but by position, upon which principle he based the entire theory of harmony. Only the introduction of the thorough bass soon after, which reckoned all intervals from the bass up, prevented a development of this rational theory. (Cf. Riemann:Gesch. der Musiktheorie, pp. 369 ff.)[108]Cf.Chap. X, pp. 284 ff.[109]The frottola ‘stood midway between the strict and complicated madrigal and thevillottaorvillanella, which was a mere harmonization of a tune; and in fact as the use of counterpoint increased it disappeared, its better element went into the madrigal, its lower into thevillanella.—Grove’s ‘Dictionary.’‘If we consider the frottole as contrapuntal exercises they appear very meagre. If, however, we consider them as attempts to free thecantabilemelody, the declamatory rhythm which is analogous to the verse metre, from the imitative web, and as an attempt to endow musical pieces with architectural symmetry in the construction of its consecutive (not simultaneous) elements they are significant phenomena.’—Ambros.[110]‘History of Music,’ III, 303.[111]The inscriptionCromatici, a note nereon the title page of some of di Rore’s madrigals, which has been thought to indicate the chromatic nature of these compositions, refers, as Riemann clearly shows (Handbuch der MusikgeschichteII¹. 411), simply to the color of the notes,cromabeing a current name for the eighth note since early times.[112]Musikgeschichte in Beispielen.Excerpt, etc., inHandbuch der Musikgeschichte, II¹. 407 ff.[113]That these vocal compositions were often performed entirely by instruments is indicated by the direction which we meet frequently on sixteenth century title pages: ‘practical for all instruments.’ The kind of instruments was not indicated and the choice was left to the direction of the performer. Not till the end of the century did musicians begin to discriminate and to recognize the value of instrumental timbre. In theintermezziarrangements of madrigals, etc., were often performed by many instruments, as for instance in those produced in 1565 by Striggio and Fr. Corteccia (d. 1571), who assembled an orchestra of 2 clavicembali, 4 violini, 1 liuto mezzano, 1 cornetto muto, 4 tromboni, 1 flauti diritti, 4 traverse, 1 liuto grosso, 1 sotto basso di viola, 1 soprano di viola, 4 liuti, 1 viola d’arco, 1 lirone, 1 traverso contralto, 1 flauto grande tenore, 1 trombone basso, 5 storte, 1 stortina, 2 cornetti ordinarii, 1 cornetto grosso, 1 dolzaina, 1 lira, 1 ribecchino, 2 tamburi.
[98]The word monody may be applied to the purely melodic, unaccompanied music of ancient times and the plain-song era, which, however, is better described as homophony, in contradistinction to monody in the present sense, namely, solo melody with instrumental accompaniment. In monodic music the upper voice predominates throughout and determines the harmonic structure. In vocal polyphony, or counterpoint, the principal voice (cantus firmus) was usually in the tenor, and had no such determining significance.
[98]The word monody may be applied to the purely melodic, unaccompanied music of ancient times and the plain-song era, which, however, is better described as homophony, in contradistinction to monody in the present sense, namely, solo melody with instrumental accompaniment. In monodic music the upper voice predominates throughout and determines the harmonic structure. In vocal polyphony, or counterpoint, the principal voice (cantus firmus) was usually in the tenor, and had no such determining significance.
[99]Dante’sballatewere everywhere known and sung, according to Saccheti’s novels, and when Dante overheard a blacksmith singing his song he scolded him for having altered it. Dante himself was, according to an anonymous writer of the thirteenth century,dilettore nel canto e ogni suono.
[99]Dante’sballatewere everywhere known and sung, according to Saccheti’s novels, and when Dante overheard a blacksmith singing his song he scolded him for having altered it. Dante himself was, according to an anonymous writer of the thirteenth century,dilettore nel canto e ogni suono.
[100]F. J. Fétis:Hist. Gén. de la Musique, V. 308.
[100]F. J. Fétis:Hist. Gén. de la Musique, V. 308.
[101]Joh. Wolf:Geschichte der Mensuralnotation von 1260-1450(2 vols., 1904).
[101]Joh. Wolf:Geschichte der Mensuralnotation von 1260-1450(2 vols., 1904).
[102]Cf.H. Riemann:Handbuch der MusikgeschichteI², pp. 305 ff.
[102]Cf.H. Riemann:Handbuch der MusikgeschichteI², pp. 305 ff.
[103]H. Riemann:Op. cit., I², pp. 305 ff.
[103]H. Riemann:Op. cit., I², pp. 305 ff.
[104]H. Riemann:Op. cit., I², pp. 305 ff.
[104]H. Riemann:Op. cit., I², pp. 305 ff.
[105]J. A. Symonds: ‘Renaissance in Italy,’ Vol. II.
[105]J. A. Symonds: ‘Renaissance in Italy,’ Vol. II.
[106]During 1471 to 1488 Josquin was at the papal chapel in Rome. His popularity there is illustrated by the following episode. When a motet was performed in a distinguished social circle it passed almost without notice until the hearers became aware that Josquin was its composer, when all hands promptly proceeded to express their admiration of it.
[106]During 1471 to 1488 Josquin was at the papal chapel in Rome. His popularity there is illustrated by the following episode. When a motet was performed in a distinguished social circle it passed almost without notice until the hearers became aware that Josquin was its composer, when all hands promptly proceeded to express their admiration of it.
[107]B. Chioggia (Venice), 1517; d. Venice, 1590; was a pupil of Willaert. In 1565 succeeded Cipriano de Rore asmaestroat St Mark’s. Most of his compositions have been lost. His theoretical works were of the greatest importance. Like M. Hauptmann later, he already recognized but one kind of third, the major, and distinguishes the thirds of the major and minor triad not by size but by position, upon which principle he based the entire theory of harmony. Only the introduction of the thorough bass soon after, which reckoned all intervals from the bass up, prevented a development of this rational theory. (Cf. Riemann:Gesch. der Musiktheorie, pp. 369 ff.)
[107]B. Chioggia (Venice), 1517; d. Venice, 1590; was a pupil of Willaert. In 1565 succeeded Cipriano de Rore asmaestroat St Mark’s. Most of his compositions have been lost. His theoretical works were of the greatest importance. Like M. Hauptmann later, he already recognized but one kind of third, the major, and distinguishes the thirds of the major and minor triad not by size but by position, upon which principle he based the entire theory of harmony. Only the introduction of the thorough bass soon after, which reckoned all intervals from the bass up, prevented a development of this rational theory. (Cf. Riemann:Gesch. der Musiktheorie, pp. 369 ff.)
[108]Cf.Chap. X, pp. 284 ff.
[108]Cf.Chap. X, pp. 284 ff.
[109]The frottola ‘stood midway between the strict and complicated madrigal and thevillottaorvillanella, which was a mere harmonization of a tune; and in fact as the use of counterpoint increased it disappeared, its better element went into the madrigal, its lower into thevillanella.—Grove’s ‘Dictionary.’‘If we consider the frottole as contrapuntal exercises they appear very meagre. If, however, we consider them as attempts to free thecantabilemelody, the declamatory rhythm which is analogous to the verse metre, from the imitative web, and as an attempt to endow musical pieces with architectural symmetry in the construction of its consecutive (not simultaneous) elements they are significant phenomena.’—Ambros.
[109]The frottola ‘stood midway between the strict and complicated madrigal and thevillottaorvillanella, which was a mere harmonization of a tune; and in fact as the use of counterpoint increased it disappeared, its better element went into the madrigal, its lower into thevillanella.—Grove’s ‘Dictionary.’
‘If we consider the frottole as contrapuntal exercises they appear very meagre. If, however, we consider them as attempts to free thecantabilemelody, the declamatory rhythm which is analogous to the verse metre, from the imitative web, and as an attempt to endow musical pieces with architectural symmetry in the construction of its consecutive (not simultaneous) elements they are significant phenomena.’—Ambros.
[110]‘History of Music,’ III, 303.
[110]‘History of Music,’ III, 303.
[111]The inscriptionCromatici, a note nereon the title page of some of di Rore’s madrigals, which has been thought to indicate the chromatic nature of these compositions, refers, as Riemann clearly shows (Handbuch der MusikgeschichteII¹. 411), simply to the color of the notes,cromabeing a current name for the eighth note since early times.
[111]The inscriptionCromatici, a note nereon the title page of some of di Rore’s madrigals, which has been thought to indicate the chromatic nature of these compositions, refers, as Riemann clearly shows (Handbuch der MusikgeschichteII¹. 411), simply to the color of the notes,cromabeing a current name for the eighth note since early times.
[112]Musikgeschichte in Beispielen.Excerpt, etc., inHandbuch der Musikgeschichte, II¹. 407 ff.
[112]Musikgeschichte in Beispielen.Excerpt, etc., inHandbuch der Musikgeschichte, II¹. 407 ff.
[113]That these vocal compositions were often performed entirely by instruments is indicated by the direction which we meet frequently on sixteenth century title pages: ‘practical for all instruments.’ The kind of instruments was not indicated and the choice was left to the direction of the performer. Not till the end of the century did musicians begin to discriminate and to recognize the value of instrumental timbre. In theintermezziarrangements of madrigals, etc., were often performed by many instruments, as for instance in those produced in 1565 by Striggio and Fr. Corteccia (d. 1571), who assembled an orchestra of 2 clavicembali, 4 violini, 1 liuto mezzano, 1 cornetto muto, 4 tromboni, 1 flauti diritti, 4 traverse, 1 liuto grosso, 1 sotto basso di viola, 1 soprano di viola, 4 liuti, 1 viola d’arco, 1 lirone, 1 traverso contralto, 1 flauto grande tenore, 1 trombone basso, 5 storte, 1 stortina, 2 cornetti ordinarii, 1 cornetto grosso, 1 dolzaina, 1 lira, 1 ribecchino, 2 tamburi.
[113]That these vocal compositions were often performed entirely by instruments is indicated by the direction which we meet frequently on sixteenth century title pages: ‘practical for all instruments.’ The kind of instruments was not indicated and the choice was left to the direction of the performer. Not till the end of the century did musicians begin to discriminate and to recognize the value of instrumental timbre. In theintermezziarrangements of madrigals, etc., were often performed by many instruments, as for instance in those produced in 1565 by Striggio and Fr. Corteccia (d. 1571), who assembled an orchestra of 2 clavicembali, 4 violini, 1 liuto mezzano, 1 cornetto muto, 4 tromboni, 1 flauti diritti, 4 traverse, 1 liuto grosso, 1 sotto basso di viola, 1 soprano di viola, 4 liuti, 1 viola d’arco, 1 lirone, 1 traverso contralto, 1 flauto grande tenore, 1 trombone basso, 5 storte, 1 stortina, 2 cornetti ordinarii, 1 cornetto grosso, 1 dolzaina, 1 lira, 1 ribecchino, 2 tamburi.