FOOTNOTES:[125]InMusiciens d’autrefois(3me ed., 1912), p. 19.[126]An example of aMarienklage, dating from the sixteenth century, is reprinted by Eitner in thePublikation älterer praktischer und theoretischer Musikwerke, Vol. X.[127]A description of a highly developed example of this species, theBallet-Comique de la royne, will be found in Chap. XIII, p. 401.[128]Cf.W. J. Henderson: ‘Some Forerunners of Italian Opera.’ (1913.)[129]Tasso’s fervent love for music is well known and reflected in his writings. The particular musician of his choice was Don Carlo Gesualdo, prince of Venosa, who set the music for a number of Tasso’s madrigals.[130]B. Florence,ca.1533, d. there, 1600, was a pupil of Zarlino, an excellent musician and an able lutenist and violinist. He published two books of madrigals and made the first known experiments in the “representative” style of melody. He was a deep student of Greek music, discovered the hymns of Mesomedes (transcribed successfully only 200 years later) and published ‘Dialogue on Antique and Modern Music’ (1581), a diatribe against Zarlino and his methods. His son, Galileo Galilei, the great astronomer, is said to have constructed his first telescope from an organ pipe belonging to his father.[131]Giulio Caccini (surnamed Romano), b. Romeca.1550; d. 1618 in Florence, where he had lived since 1564 and was employed at court as a singer. During the winter of 1604-1605 he sojourned in Paris at the request of Queen Maria (de Medici). Besides the works mentioned in our text, he wroteFuggilotio musicale(madrigals, etc.) and a sequel to hisNuove musiche.[132]Jacopo Peri (b. Florence, Aug. 20, 1561, d. there Aug. 12, 1633) was a pupil of Christoforo Malvezzi. He became chief director of music at the court of Florence under Francesco, Ferdinand I and Cosimo II de Medici. Besides hisDafneandEuridice, he publishedLe varie musiche del Sig. Jacopo Peri, etc.(1609), the recitatives for Monteverdi’sArianna, a war-play (barriera),La precedenza delle dame, and a part of Gagliano’s opera,La Flora.[133]Emilio de’ Cavalieri (or del Cavaliere), b.ca.1550; d. March 11th, 1662, in Rome, was, before his appointment at Florence, organist of theOratorio del S. Cruciffissoin S. Marcello (Rome). His earliest works are madrigals, as we know from a reference to the “eighty-sixth, in six parts,” in his preface to theRappresentazione.[134]Publikation älterer praktischer und theoretischer Musikwerke, Vol. X.
FOOTNOTES:
[125]InMusiciens d’autrefois(3me ed., 1912), p. 19.[126]An example of aMarienklage, dating from the sixteenth century, is reprinted by Eitner in thePublikation älterer praktischer und theoretischer Musikwerke, Vol. X.[127]A description of a highly developed example of this species, theBallet-Comique de la royne, will be found in Chap. XIII, p. 401.[128]Cf.W. J. Henderson: ‘Some Forerunners of Italian Opera.’ (1913.)[129]Tasso’s fervent love for music is well known and reflected in his writings. The particular musician of his choice was Don Carlo Gesualdo, prince of Venosa, who set the music for a number of Tasso’s madrigals.[130]B. Florence,ca.1533, d. there, 1600, was a pupil of Zarlino, an excellent musician and an able lutenist and violinist. He published two books of madrigals and made the first known experiments in the “representative” style of melody. He was a deep student of Greek music, discovered the hymns of Mesomedes (transcribed successfully only 200 years later) and published ‘Dialogue on Antique and Modern Music’ (1581), a diatribe against Zarlino and his methods. His son, Galileo Galilei, the great astronomer, is said to have constructed his first telescope from an organ pipe belonging to his father.[131]Giulio Caccini (surnamed Romano), b. Romeca.1550; d. 1618 in Florence, where he had lived since 1564 and was employed at court as a singer. During the winter of 1604-1605 he sojourned in Paris at the request of Queen Maria (de Medici). Besides the works mentioned in our text, he wroteFuggilotio musicale(madrigals, etc.) and a sequel to hisNuove musiche.[132]Jacopo Peri (b. Florence, Aug. 20, 1561, d. there Aug. 12, 1633) was a pupil of Christoforo Malvezzi. He became chief director of music at the court of Florence under Francesco, Ferdinand I and Cosimo II de Medici. Besides hisDafneandEuridice, he publishedLe varie musiche del Sig. Jacopo Peri, etc.(1609), the recitatives for Monteverdi’sArianna, a war-play (barriera),La precedenza delle dame, and a part of Gagliano’s opera,La Flora.[133]Emilio de’ Cavalieri (or del Cavaliere), b.ca.1550; d. March 11th, 1662, in Rome, was, before his appointment at Florence, organist of theOratorio del S. Cruciffissoin S. Marcello (Rome). His earliest works are madrigals, as we know from a reference to the “eighty-sixth, in six parts,” in his preface to theRappresentazione.[134]Publikation älterer praktischer und theoretischer Musikwerke, Vol. X.
[125]InMusiciens d’autrefois(3me ed., 1912), p. 19.
[125]InMusiciens d’autrefois(3me ed., 1912), p. 19.
[126]An example of aMarienklage, dating from the sixteenth century, is reprinted by Eitner in thePublikation älterer praktischer und theoretischer Musikwerke, Vol. X.
[126]An example of aMarienklage, dating from the sixteenth century, is reprinted by Eitner in thePublikation älterer praktischer und theoretischer Musikwerke, Vol. X.
[127]A description of a highly developed example of this species, theBallet-Comique de la royne, will be found in Chap. XIII, p. 401.
[127]A description of a highly developed example of this species, theBallet-Comique de la royne, will be found in Chap. XIII, p. 401.
[128]Cf.W. J. Henderson: ‘Some Forerunners of Italian Opera.’ (1913.)
[128]Cf.W. J. Henderson: ‘Some Forerunners of Italian Opera.’ (1913.)
[129]Tasso’s fervent love for music is well known and reflected in his writings. The particular musician of his choice was Don Carlo Gesualdo, prince of Venosa, who set the music for a number of Tasso’s madrigals.
[129]Tasso’s fervent love for music is well known and reflected in his writings. The particular musician of his choice was Don Carlo Gesualdo, prince of Venosa, who set the music for a number of Tasso’s madrigals.
[130]B. Florence,ca.1533, d. there, 1600, was a pupil of Zarlino, an excellent musician and an able lutenist and violinist. He published two books of madrigals and made the first known experiments in the “representative” style of melody. He was a deep student of Greek music, discovered the hymns of Mesomedes (transcribed successfully only 200 years later) and published ‘Dialogue on Antique and Modern Music’ (1581), a diatribe against Zarlino and his methods. His son, Galileo Galilei, the great astronomer, is said to have constructed his first telescope from an organ pipe belonging to his father.
[130]B. Florence,ca.1533, d. there, 1600, was a pupil of Zarlino, an excellent musician and an able lutenist and violinist. He published two books of madrigals and made the first known experiments in the “representative” style of melody. He was a deep student of Greek music, discovered the hymns of Mesomedes (transcribed successfully only 200 years later) and published ‘Dialogue on Antique and Modern Music’ (1581), a diatribe against Zarlino and his methods. His son, Galileo Galilei, the great astronomer, is said to have constructed his first telescope from an organ pipe belonging to his father.
[131]Giulio Caccini (surnamed Romano), b. Romeca.1550; d. 1618 in Florence, where he had lived since 1564 and was employed at court as a singer. During the winter of 1604-1605 he sojourned in Paris at the request of Queen Maria (de Medici). Besides the works mentioned in our text, he wroteFuggilotio musicale(madrigals, etc.) and a sequel to hisNuove musiche.
[131]Giulio Caccini (surnamed Romano), b. Romeca.1550; d. 1618 in Florence, where he had lived since 1564 and was employed at court as a singer. During the winter of 1604-1605 he sojourned in Paris at the request of Queen Maria (de Medici). Besides the works mentioned in our text, he wroteFuggilotio musicale(madrigals, etc.) and a sequel to hisNuove musiche.
[132]Jacopo Peri (b. Florence, Aug. 20, 1561, d. there Aug. 12, 1633) was a pupil of Christoforo Malvezzi. He became chief director of music at the court of Florence under Francesco, Ferdinand I and Cosimo II de Medici. Besides hisDafneandEuridice, he publishedLe varie musiche del Sig. Jacopo Peri, etc.(1609), the recitatives for Monteverdi’sArianna, a war-play (barriera),La precedenza delle dame, and a part of Gagliano’s opera,La Flora.
[132]Jacopo Peri (b. Florence, Aug. 20, 1561, d. there Aug. 12, 1633) was a pupil of Christoforo Malvezzi. He became chief director of music at the court of Florence under Francesco, Ferdinand I and Cosimo II de Medici. Besides hisDafneandEuridice, he publishedLe varie musiche del Sig. Jacopo Peri, etc.(1609), the recitatives for Monteverdi’sArianna, a war-play (barriera),La precedenza delle dame, and a part of Gagliano’s opera,La Flora.
[133]Emilio de’ Cavalieri (or del Cavaliere), b.ca.1550; d. March 11th, 1662, in Rome, was, before his appointment at Florence, organist of theOratorio del S. Cruciffissoin S. Marcello (Rome). His earliest works are madrigals, as we know from a reference to the “eighty-sixth, in six parts,” in his preface to theRappresentazione.
[133]Emilio de’ Cavalieri (or del Cavaliere), b.ca.1550; d. March 11th, 1662, in Rome, was, before his appointment at Florence, organist of theOratorio del S. Cruciffissoin S. Marcello (Rome). His earliest works are madrigals, as we know from a reference to the “eighty-sixth, in six parts,” in his preface to theRappresentazione.
[134]Publikation älterer praktischer und theoretischer Musikwerke, Vol. X.
[134]Publikation älterer praktischer und theoretischer Musikwerke, Vol. X.