Two-part didactic music in printed Italian collections of the ...

More documents

Recommendations

Info

101 5 9 & & V & & V 13 & & V 17 & & V 21 & & V @ @ % w & & V PRIMA. DI GRADO c c c w œ œ œ œ Ó Ó ˙ w w œ œ œ œ w ˙ ˙ œ œ œ œ œ Ó w ˙ ˙ ˙ ˙ ˙ w œ œ œ œ ∑ ˙ w ˙ w ˙ w – 464 – Caresana (1681), ‘Solfeggiamento a tre: due canti e basso’ This is just the first section of a 924-bar-long composition. Caresana composed it ‘con l’idea di dar concerto a chi patisce nell’intonare’. See Chap. 5, ‘Other Didactic Music in Duo Collections’. œ œ œ œ œ œ # œ œ œ œ ˙ ˙ œ œ œ œ w ˙ ˙ œ œ œ œ œ œ œ œ œ w . ˙ œ œ # œ œ œ œ w ˙ ˙ ∑ w w ˙ w œ œ œ œ ˙ œ œ œ œ œ # œ œ œ œ . ˙ œ w œ œ œ œ œ ˙ ˙ œ œ œ œ w ˙ ˙ œ œ œ œ w w ∑ w w w œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ w w ˙ ∑ ˙ œ œ œ œ œ œ œ œ w w w œ œ œ œ ∑
25 & & V 29 & & V 34 & & V 38 & & V 42 & & V 46 & & V ˙ œ œ w œ œ œ œ ˙ w ˙ w ˙ ˙ . ˙ œ œ œ œ œ w ˙ w œ œ ˙ œ œ œ œ œ w œ # œ œ œ œ w w w œ œ ˙ w œ œ ˙ . ˙ w œ ˙ ˙ œ ˙ ˙ – 465 – ˙ ˙ w w œ œ œ œ œ ˙ œ œ œ œ w œ œ œ œ Ó ˙ w œ # œ œ œ œ w ˙ œ œ œ œ œ w w Caresana (1681), ‘Solfeggiamento a tre: due canti e basso’ œ # œ œ œ œ ˙ œ œ œ œ w w œ œ œ œ w œ œ œ œ œ œ œ œ w œ œ œ œ œ . ˙ œ w œ œ œ œ ˙ w ˙ ∑ œ œ œ œ w œ œ œ œ œ œ œ œ Ó w Ó ˙ ˙ œ œ œ œ w œ œ œ œ œ œ w œ œ œ œ œ ˙ ˙ . w ˙. œ œ œ œ œ œ w w w w œ
Page 1 and 2:
TWO-PART DIDACTIC MUSIC IN PRINTED
Page 3 and 4:
ABSTRACT Two-part compositions were
Page 5 and 6:
3.5. Motets and Sacred Madrigals p.
Page 7 and 8:
ABBREVIATIONS AND LIBRARY SIGLA Whe
Page 9 and 10:
RISM-Addenda Répertoire Internatio
Page 11 and 12:
I PLn Italy - Palermo, Biblioteca N
Page 13 and 14:
Chapter 1 2 some music manuals of t
Page 15 and 16:
Chapter 1 4 Einstein was confident
Page 17 and 18:
Chapter 1 6 1.3. THE CONSISTENCY OF
Page 19 and 20:
Chapter 1 8 music publishers, Ottav
Page 21 and 22:
Chapter 1 10 It is easy to identify
Page 23 and 24:
Chapter 1 12 Al Signor Gioseffo Gua
Page 25 and 26:
Chapter 2 14 2.1. DUOS IN JOHANNES
Page 27 and 28:
Chapter 2 16 conjectures fits in we
Page 29 and 30:
Chapter 2 18 In the sources listed
Page 31 and 32:
Chapter 2 20 do not want to analyse
Page 33 and 34:
Chapter 2 22 Festa avoids cadences,
Page 35 and 36:
Chapter 2 24 Perhaps the six recerc
Page 37 and 38:
Chapter 2 26 2.5. MANUSCRIPT DUOS N
Page 39 and 40:
Chapter 2 28 with Tinctoris’s duo
Page 41 and 42:
Chapter 2 30 Ex. 4 & b b a V b b C
Page 43 and 44:
3.1.1. INTRODUCTION 3. DIFFERENT KI
Page 45 and 46:
Chapter 3.1 34 MADRIGALS Madrigals
Page 47 and 48:
Chapter 3.1 36 short duos composed
Page 49 and 50:
Chapter 3.1 38 ‘Scherzi, capricci
Page 51 and 52:
Chapter 3.2 40 2. All the treatises
Page 53 and 54:
Chapter 3.2 42 material by Flemish
Page 55 and 56:
Chapter 3.2 44 of a texted-duo coll
Page 57 and 58:
Chapter 3.2 46 tenore di buona voce
Page 59 and 60:
Chapter 3.2 48 explicitly declares
Page 61 and 62:
Chapter 3.2 50 as a sort of no-man
Page 63 and 64:
Chapter 3.2 52 stand about this col
Page 65 and 66:
Chapter 3.2 54 vocal practice, beca
Page 67 and 68:
Chapter 3.2 56 Ex. 5 14): Ex. 6 & &
Page 69 and 70:
3.3. THE TWO-PART CHANSON The first
Page 71 and 72:
Chapter 3.3 60 Venice for the first
Page 73 and 74:
3.4. THE MADRIGALIAN DUO 3.4.1. INT
Page 75 and 76:
Chapter 3.4 64 • both duos were i
Page 77 and 78:
Chapter 3.4 66 SCOTTO (1541) FROM K
Page 79 and 80:
Chapter 3.4 68 del Bembo con la mus
Page 81 and 82:
Chapter 3.4 70 for lute and in two
Page 83 and 84:
Chapter 3.4 72 were also conceived
Page 85 and 86:
Chapter 3.4 74 likelihood the two m
Page 87 and 88:
Chapter 3.4 76 was not possible, th
Page 89 and 90:
Chapter 3.4 78 the lower part cross
Page 91 and 92:
Chapter 3.4 80 passages seem differ
Page 93 and 94:
Chapter 3.4 82 This choice could ha
Page 95 and 96:
Chapter 3.4 84 duos and nor, appare
Page 97 and 98:
Chapter 3.4 86 case of Nicoletti (1
Page 99 and 100:
Chapter 3.4 88 from sacred composit
Page 101 and 102:
Chapter 3.4 90 consumi’ by Berche
Page 103 and 104:
Chapter 3.4 92 would justify the br
Page 105 and 106:
Chapter 3.4 94 3.4.10. CONCLUSION A
Page 107 and 108:
Chapter 3.5 96 3.5.1. THE MOTET Whi
Page 109 and 110:
Chapter 3.5 98 We shall return to t
Page 111 and 112:
Chapter 3.5 100 Bellanda are devote
Page 113 and 114:
3.6.1. VILLANCICOS 3.6. OTHER VOCAL
Page 115 and 116:
Chapter 3.6 104 Cancionero musical
Page 117 and 118:
4. DUOS AS COMPOSITIONS AND AS TEAC
Page 119 and 120:
Chapter 4.1 108 known composition;
Page 121 and 122:
Chapter 4.1 110 wrote in the chapte
Page 123 and 124:
Chapter 4.1 112 modal theory was fo
Page 125 and 126:
Chapter 4.1 114 until the first hal
Page 127 and 128:
Chapter 4.1 116 comment concerning
Page 129 and 130:
Chapter 4.1 118 36 by Gastoldi; the
Page 131 and 132:
Chapter 4.1 120 Ex. 9 @ $ % & & V V
Page 133 and 134:
Chapter 4.1 122 & V œ œ ˙ œ œ
Page 135 and 136:
Chapter 4.1 124 Questi primi insegn
Page 137 and 138:
Chapter 4.1 126 6/8, 3/2, 3/4; from
Page 139 and 140:
Chapter 4.1 128 and then suddenly s
Page 141 and 142:
Chapter 4.1 130 requirements of bot
Page 143 and 144:
Chapter 4.1 132 Chromatic passages
Page 145 and 146:
Chapter 4.2 134 4.2.2. CANONS WITH
Page 147 and 148:
Chapter 4.2 136 4.2.3. CANONS AND M
Page 149 and 150:
Chapter 4.2 138 musica a due voci (
Page 151 and 152:
Chapter 4.2 140 4 is based on the h
Page 153 and 154:
Chapter 4.3 142 the recent Hexachor
Page 155 and 156:
Chapter 4.3 144 Ex. 4 1 ? wΓ 2 w A
Page 157 and 158:
Chapter 4.3 146 So we change from t
Page 159 and 160:
Chapter 4.3 148 4.3.6. EXCEPTIONS I
Page 161 and 162:
Chapter 4.3 150 According to the ru
Page 163 and 164:
Chapter 4.3 152 mutation - ‘la so
Page 165 and 166:
Chapter 4.3 154 & # # n n B c B œ
Page 167 and 168:
Chapter 4.3 156 have already seen h
Page 169 and 170:
4.4.1. INTRODUCTION 4.4. OBBLIGHI,
Page 171 and 172:
Chapter 4.4 160 beginners learning
Page 173 and 174:
Chapter 4.4 162 Finally, we have du
Page 175 and 176:
Chapter 4.4 164 obstinacy. In the L
Page 177 and 178:
Chapter 4.4 166 In this example the
Page 179 and 180:
Chapter 4.4 168 Ex. 8 & [bars 40-46
Page 181 and 182:
Chapter 4.4 170 & ? Ex. 11 c c Ó
Page 183 and 184:
Chapter 4.4 172 Lassus (1577) and G
Page 185 and 186:
Chapter 4.4 174 ricercar (Music App
Page 187 and 188:
Chapter 4.4 176 can only envy the h
Page 189 and 190:
Chapter 4.4 178 when the natural an
Page 191 and 192:
Chapter 4.4 180 in duos: inganni an
Page 193 and 194:
Chapter 4.5 182 Elementorum musicae
Page 195 and 196:
Chapter 4.5 184 of mutation using a
Page 197 and 198:
Chapter 4.5 186 Finally, Scaletta g
Page 199 and 200:
Chapter 4.5 188 Youngsters Youngste
Page 201 and 202:
Chapter 4.5 190 1681) managed his o
Page 203 and 204:
Chapter 4.5 192 soon as he memorize
Page 205 and 206:
Chapter 4.5 194 Indeed, quite a few
Page 207 and 208:
Chapter 4.5 196 Sono di già passat
Page 209 and 210:
Chapter 4.5 198 Similarly, in the s
Page 211 and 212:
Chapter 4.5 200 acquires a precise
Page 213 and 214:
5. OTHER DIDACTIC MUSIC IN DUO COLL
Page 215 and 216:
chapter 5 204 the madrigals that bo
Page 217 and 218:
chapter 5 206 Piochi: 3 books Natal
Page 219 and 220:
chapter 5 208 animi delle persone c
Page 221 and 222:
chapter 5 210 2. ‘Canon. Me pente
Page 223 and 224:
chapter 5 212 Ex. 4b The clue is in
Page 225 and 226:
chapter 5 214 B a B a ? ? ? ? Ex. 7
Page 227 and 228:
chapter 5 216 Corti, Ricercari a du
Page 229 and 230:
chapter 6 218 sixteenth century by
Page 231 and 232:
- II - Emil Vogel, Bibliothek der g
Page 233 and 234:
- IV - 44 (1972), 181-213, which li
Page 235 and 236:
- VI - A 25. Gabriello Puliti, Sche
Page 237 and 238:
- VIII - C 8. Girolamo Diruta, Seco
Page 239 and 240:
- X - E 25. Zaccaria Tevo, Il music
Page 241 and 242:
- XII - 59. Banchieri (1623) 4, ‘
Page 243 and 244:
APPENDIX A - COLLECTIONS OF DIDACTI
Page 245 and 246:
- 3 - 31. Cantus cum tenore C S A A
Page 247 and 248:
- 5 - 1564 TITLE-PAGE TENORE | DI A
Page 249 and 250:
10. 19 11. 20 82 12. 21 83 13. 26 8
Page 251 and 252:
CONTENTS Nos. 1-53. - 9 - cC 1543 T
Page 253 and 254:
- 11 - 1584 TITLE-PAGE TENORE | DI
Page 255 and 256:
BIBLIOGRAPHICAL LISTINGS RISM-A: G
Page 257 and 258:
BIBLIOGRAPHICAL LISTING NewVogel: 1
Page 259 and 260:
- 17 - 46. Quant je boy du vin clar
Page 261 and 262:
LOCATION I Bc. - 19 - BIBLIOGRAPHIC
Page 263 and 264:
- 21 - 37. Amor, quando fioria. Qui
Page 265 and 266:
- 23 - BIBLIOGRAPHICAL LISTINGS RIS
Page 267 and 268:
- 25 - 61. Iusquin. Agnus Dei [Miss
Page 269 and 270:
Page 271 and 272:
MODERN EDITION Ed. by Andrea Bornst
Page 273 and 274:
- 31 - 1568 TITLE-PAGE TENORE | DI
Page 275 and 276:
- 33 - 1615 TITLE-PAGE CANTO [TENOR
Page 277 and 278:
- 35 - 1670a TITLE-PAGE CANTO [TENO
Page 279 and 280:
Venice, 1550 ! $ ! & b ˙ Bologna,
Page 281 and 282:
- 39 - 19. f. 34v ‘Fantasia 21’
Page 283 and 284:
- 41 - 24. O bella man, che mi dest
Page 285 and 286:
- 43 - wW CONTENTS 1. La marencha S
Page 287 and 288:
- 45 - 7. Lagrimando dimostro. Quin
Page 289 and 290:
- 47 - 9. Vergine, in cui ho tutta
Page 291 and 292:
- 49 - Quandoquidem serenissime ac
Page 293 and 294:
LOCATION I Bc. - 51 - BIBLIOGRAPHIC
Page 295 and 296:
- 53 - TEXTS No. 1: Ecclesiasticus
Page 297 and 298:
- 55 - 7. S T c F n 8. S T c G n 9.
Page 299 and 300:
- 57 - 5. Giuseppe Di Colaianne S T
Page 301 and 302:
- 59 - Pitoni (c. 1725), p. 217:
Page 303 and 304:
- 61 - CONTENTS 1. Cantan fra rami
Page 305 and 306:
- 63 - Nos. 20-27, 36 in Bernard Th
Page 307 and 308:
- 65 - 1605 TITLE-PAGE CANTO [TENOR
Page 309 and 310:
- 67 - cC 1609 TITLE-PAGE CANTO [TE
Page 311 and 312:
- 69 - NOTES Both title-pages are s
Page 313 and 314:
Page 315 and 316:
- 73 - Fu sempre la stampa tesorier
Page 317 and 318:
- 75 - 16. Canon. Odi, vedi, ora e
Page 319 and 320:
- 77 - A 20. Antonio Il Verso, Il p
Page 321 and 322:
- 79 - lL A 21. Paolo Fonghetti, Ca
Page 323 and 324:
- 81 - A 22. Giovanni Giacomo Gasto
Page 325 and 326:
- 83 - Pitoni (c. 1725), p. 191:
Page 327 and 328:
LOCATION A Wn - 85 - compositore di
Page 329 and 330:
LOCATION I Bc (C) - 87 - porgere di
Page 331 and 332:
- 89 - 15. V A C G f 16. V A 3 G f
Page 333 and 334:
- 91 - 10. Ricercar Decimo S A c G
Page 335 and 336:
- 93 - 27. A B c A f 28. A B c A f
Page 337 and 338:
BORROWED MATERIAL No. 11: ‘Barrer
Page 339 and 340:
- 97 - A 31. Floriano de Magri, Can
Page 341 and 342:
LOCATION I Bc. - 99 - Di Vostra Sig
Page 343 and 344:
BIBLIOGRAPHICAL LISTINGS RISM-A: B
Page 345 and 346:
LOCATION I Nc. - 103 - Dopo gli obb
Page 347 and 348:
LOCATION I Bc. / b / c - 105 - Ques
Page 349 and 350:
LOCATION I Bc. - 107 - occupazioni
Page 351 and 352:
- 109 - 16. Duo XVI. Canto e alto S
Page 353 and 354:
- 111 - lL A 37. Cristofano Piochi,
Page 355 and 356:
- 113 - 13. Ricercare decimo terzo.
Page 357 and 358:
Gaspari, Catalogo, I, pp. 322-23. W
Page 359 and 360:
No. 2: ‘Iste confessor’. See Ap
Page 361 and 362:
- 119 - rerum omnium concentu hauri
Page 363 and 364:
- 121 - 17. Facilis est vincere non
Page 365 and 366:
PARS VESPERTINA - 123 - 39. Musicam
Page 367 and 368:
MODERN EDITION Ed. by Andrea Bornst
Page 369 and 370:
- 127 - che in questa congiuntura n
Page 371 and 372:
Nos. 30 and 31: ‘Pastorale’. Se
Page 373 and 374:
- 131 - più la venerazione che l
Page 375 and 376:
Gaspari, Catalogo, IV, p. 206. MODE
Page 377 and 378:
- 135 - 38. Canone a 2 in diapason
Page 379 and 380:
- 137 - 23. Solfeggiamento Vigesimo
Page 381 and 382:
Canone a quattro - 139 - CONCORDANC
Page 383 and 384:
- 141 - 21. Ventesimo Primo S A c G
Page 385 and 386:
APPENDIX B - OTHER PRINTS INCLUDING
Page 387 and 388:
- 145 - 3. Duo. Dime, robadora S S
Page 389 and 390:
- 147 - somiglianza de gl’Inni ch
Page 391 and 392:
- 149 - sum: ut meliorem exitum opt
Page 393 and 394:
BIBLIOGRAPHICAL LISTINGS RISM-C, II
Page 395 and 396:
- 153 - B 8. Antonio Brunelli, Rego
Page 397 and 398:
BIBLIOGRAPHICAL LISTING Mischiati,
Page 399 and 400:
- 157 - 33. Primo contrapunto accor
Page 401 and 402:
- 159 - MODERN EDITIONS Nos. 1, 6,
Page 403 and 404:
- 161 - DEDICATION Al molto Illustr
Page 405 and 406:
- 163 - 4. La mort’è il fin d’
Page 407 and 408:
APPENDIX C - DUOS FROM TREATISES lL
Page 409 and 410:
- 167 - • Libro secondo, Chap. 33
Page 411 and 412:
- 169 - C 11. Camillo Angleria, Reg
Page 413 and 414:
- 171 - • Libro Secondo, Chap. 67
Page 415 and 416:
APPENDIX D - MISSING (LOST) COLLECT
Page 417 and 418:
- 175 - lL D 7. Scipione Cerreto, I
Page 419 and 420:
APPENDIX E - QUOTATIONS FROM ORIGIN
Page 421 and 422:
- 179 - iI E 4. Gioseffo Zarlino, L
Page 423 and 424:
- 181 - E 5. Vincenzo Ruffo, Capric
Page 425 and 426:
- 183 - solamente si può usare nel
Page 427 and 428:
- 185 - iI E 11. Girolamo Diruta, S
Page 429 and 430:
- 187 - fF ‘Breve narrativo in ma
Page 431 and 432:
- 189 - canoni, ovvero aggiunzioni
Page 433 and 434:
- 191 - iI E 18. Orazio Scaletta, S
Page 435 and 436:
- 193 - There follows a duo which i
Page 437 and 438:
The passage is followed by a two-pa
Page 439 and 440:
& & & c c c w ∑ ∑ Fa - ∑ ∑
Page 441:
- 199 - 3. Deve rilevare il giovane
Page 444 and 445:
- 202 - Rodio (1575): ricercare a 4
Page 446 and 447:
2.7. Missa Salvum me fac Domine •
Page 448 and 449:
LITERATURE Einstein, Madrigal, I, p
Page 450 and 451:
OTHER SETTING Gintzler (1547): lute
Page 452 and 453:
ORIGINAL SETTING - 210 - Madrigali
Page 454 and 455:
- 212 - 3.32. Occhi miei lassi, men
Page 456 and 457:
- 214 - 3.41. Ragione è ben ch’a
Page 458 and 459:
- 216 - • Sangiorgio (1608), 30.
Page 460 and 461:
4.5. Ces facheux sotz • Gardane (
Page 462 and 463:
4.17. Jouissance vous donneray •
Page 464 and 465:
4.28. Quant je boy du vin claret
Page 466 and 467:
- 224 - F 5. OTHER VOCAL COMPOSITIO
Page 468 and 469:
OTHER SETTINGS Vecchi (1590): madri
Page 470 and 471:
& & Ruggiero Caresana (1993) œ ˙
Page 472 and 473:
- 230 - with melodic variations, fo
Page 474 and 475:
- 232 - MS Chigi MS 964 Caresana tw
Page 476 and 477:
- 234 - che da Italiani si chiama F
Page 478 and 479:
- 236 - Darbellay, Frescobaldi, pp.
Page 480 and 481:
- 238 - • Strozzi (1683), 23: ‘
Page 482 and 483:
- 240 - • Licino (1545), 13: ‘C
Page 484 and 485:
• Zuccaro (1608), 18: ‘Canon in
Page 486 and 487:
- 244 - description of this practic
Page 488 and 489:
- 246 - • Giamberti (1657), 1:
Page 490 and 491:
F 10. OTHER COMPOSITIONS - 248 - 10
Page 492 and 493:
1 6 % & V b ? b 10 V b ? b 15 V b ?
Page 494 and 495:
3 @ %$ 5 & V 9 & V 13 & V 17 & V 21
Page 496 and 497:
4 Cerreto (1601) Vinci (1560) Ortiz
Page 498 and 499:
27 V b V b V b V b ? b 31 V b V b V
Page 500 and 501:
5 5 Gardane (1539) & V & V V ? Clau
Page 502 and 503:
17 21 & V & V V ? & V & V V ? aceph
Page 504 and 505:
6 Gardane (1539) V ? & V V ? b b b
Page 506 and 507:
V ? & V V ? V ? & V V ? b b b b b b
Page 508 and 509:
7 4 8 @ % & V & V 12 & V 16 & V & V
Page 510 and 511:
8 5 # % & V 10 & V 15 & V 20 & V 25
Page 512 and 513:
9 Scotto (1541) Verdelot (1533) 5 &
Page 514 and 515:
25 & V & V V ? 30 & V & V V ? 35 &
Page 516 and 517:
10 6 & V 11 & V 16 V & V 22 & V @ $
Page 518 and 519:
11 6 @ $ & b V b 11 & b V b 17 & b
Page 520 and 521:
13 #% 7 V V 12 V V 17 V V 22 V V V
Page 522 and 523:
62 œ V V 67 V V 72 V V œ œ œ œ
Page 524 and 525:
14 7 @ % & V 13 & V 19 & V 25 & V b
Page 526 and 527:
65 & V 71 & V 77 & V 83 & V 89 & V
Page 528 and 529:
27 & V 32 & V 37 & V 42 & V 47 & V
Page 530 and 531:
16 5 & & V 10 & & V Duo No. 3 Trio
Page 532 and 533:
17 6 & b V b V b 12 & b V b V b 16
Page 534 and 535:
18 7 & & 12 & & 17 & & 22 & & 27 &
Page 536 and 537:
19 @ Willaert’s duo $ Zarlino’s
Page 538 and 539:
20 5 9 @ % & V & V 14 & V 19 & V 24
Page 540 and 541:
21 4 7 11 % % V V V V V V 15 V V V
Page 542 and 543:
39 V V 43 V V 47 V V 51 V V 55 V V
Page 544 and 545:
22 4 & & 8 & & 12 & & 16 & & 20 & &
Page 546 and 547:
23 Paien (1564) Du Pont (1545) 5 &
Page 548 and 549:
24 & b V & V V b b b b ? b 29 & b V
Page 550 and 551:
24 Paien (1564) Arcadelt (1542) 5 &
Page 552 and 553:
30 & V & V V 34 & V & V V 38 & V &
Page 554 and 555:
25 4 8 @ $ & V & V 12 & V 15 & V 19
Page 556 and 557:
26 5 & & ! # & & œ œ œ œ œ œ
Page 558 and 559:
28 5 & b V b 8 & b V b 11 & b V b 1
Page 560 and 561:
29 5 & b V b 9 & b V b 12 & b V b 1
Page 562 and 563:
30 % Lassus (1577) & % Phalèse (16
Page 564 and 565:
31 5 & V 10 & V 14 & V 19 & V 24 &
Page 566 and 567:
32 5 & b V b 9 & b V b 13 & b V b 1
Page 568 and 569:
33 5 9 # & V & V 14 & V 19 & V 24 &
Page 570 and 571:
34 5 $ V V 10 V V 15 V V 19 V V 23
Page 572 and 573:
35 7 & V 14 & V 22 & V 30 & V 36 &
Page 574 and 575:
36 6 & b V b 12 & b V b 18 & b V b
Page 576 and 577:
37 6 V ? 12 V ? $ & V ? ˙ ˙ œ œ
Page 578 and 579:
38 5 9 @ % & V & V 13 & V 17 & V b
Page 580 and 581:
39 5 V V 9 V V 13 V V 17 V V 21 V V
Page 582 and 583:
50 œ œ V œ œ V 54 V V 57 V V 59
Page 584 and 585:
40 5 ^ ^ ? b ? b ? b 9 ? b ? b ? b
Page 586 and 587:
33 ? b ? b ? b 37 ? b ? b ? b 41 ?
Page 588 and 589:
41 5 & b V b 10 & b V b 15 & b V b
Page 590 and 591:
42 ! # & b & b œ œ œ œ c c 4 .
Page 592 and 593:
43 5 @ $ & b V b 9 & b V b 13 & b V
Page 594 and 595:
44 5 @ % & b V b 10 & b V b 15 & b
Page 596 and 597:
45 8 & V 13 & V 18 & V 23 & V 28 &
Page 598 and 599:
46 6 # % & b V b 11 & b V b 16 & b
Page 600 and 601:
47 8 @ $ & b V b 15 & b V b 22 & b
Page 602 and 603:
48 4 7 @ $ & V & V 10 & V 13 & V b
Page 604 and 605:
49 3 6 9 @ $ & V & V & V 12 & V b b
Page 606 and 607:
50 5 V ? 10 V ? 15 V ? 20 V ? 25 V
Page 608 and 609:
51 5 ! $ & b V b 9 & b V b 13 & b V
Page 610 and 611:
52 5 & b V b 10 & b V b 14 & b V b
Page 612 and 613:
53 $ & V b ? b œ œ œ œ 6 œ œ
Page 614 and 615:
54 @ % 6 & b V b 12 & b V b 17 & b
Page 616 and 617:
55 5 & & 9 & & 13 & & 17 & & 21 & &
Page 618 and 619:
56 5 @ % & b V b 9 & b V b 13 & b V
Page 620 and 621:
57 5 & V 10 & V 15 & V 21 & V 26 &
Page 622 and 623:
58 ! Cantus Secundus. Duo. 7 & & b
Page 624 and 625:
59 5 @ % & V 10 & V 15 & V w & V œ
Page 626 and 627:
60 Banchieri (1625) Arcadelt (1539)
Page 628 and 629:
46 & V & V V b b b b b ? b 54 & V &
Page 630 and 631:
61 ! $ & b V b œ œ œ œ c c w La
Page 632 and 633:
62 6 ? ? 12 ? ? 18 ? ? 24 ? ? 30 ?
Page 634 and 635:
- 392 - 8. Facsimile of the three-p
Page 636 and 637:
64 7 & & 14 & & 20 & & 26 & & 32 &
Page 638 and 639:
66 5 & & 9 & & ! # & & œ œ œ œ
Page 640 and 641:
67 4 % & V b ? b 8 V b ? b 12 V b ?
Page 642 and 643:
68 6 ? ? & & ? ? œ œ œ œ c c œ
Page 644 and 645:
69 5 @ $ & b V b 10 & b V b 14 & b
Page 646 and 647:
70 3 & ? @ & & ? œ œ œ œ c c œ
Page 648 and 649:
71 6 & & 10 & & 15 & & @ @ & & œ
Page 650 and 651:
72 4 & ? 7 & ? 10 & ? 13 & ? 17 & ?
Page 652 and 653:
73 @ @ Γ ✣ A. B. C. E. F. G. 6 &
Page 654 and 655:
74 3 6 8 & & & & & & 11 & & 14 & &
Page 656 and 657: 75 6 @ $ & b V b 11 & b V b 16 & b
Page 658 and 659: 76 6 & V 12 & V 18 & V 24 & V 30 &
Page 660 and 661: 84 & V 88 & V 92 & V 96 & V 100 & V
Page 662 and 663: 77 4 7 ? ? ? ? 10 ? ? 14 ? ? 18 ? ?
Page 664 and 665: 53 ? ? 56 ? ? 59 ? ? 62 ? ? 65 ? ?
Page 666 and 667: 78 7 ! ! & b & b 14 & b & b 21 & b
Page 668 and 669: 86 & b & b 93 & b & b ˙ ˙ ˙ b˙
Page 670 and 671: 79 6 @ & # & ? # 11 # & ? # 16 # &
Page 672 and 673: 81 # & ? # 86 # & ? # 91 # & ? # 96
Page 674 and 675: 80 5 9 @ & & & & 13 & & 17 & & 21 &
Page 676 and 677: - 434 - 9. Facsimile of Baroni’s
Page 678 and 679: 82 5 9 @ $ & V & V 13 & V 16 & V 19
Page 680 and 681: 83 4 & V 7 & V 10 & V 13 & V 16 & V
Page 682 and 683: 84 5 9 @ $ & & & & 13 & & 17 & & 21
Page 684 and 685: 86 & ? & ? 87 Discantus # Tenor &%
Page 686 and 687: 89 & V & V & V & V & V @ ^ & V d -
Page 688 and 689: 90 6 V ? b 11 V ? b 16 V ? b 21 V ?
Page 690 and 691: 92 4 8 & @ Tenor $ V b & V b 12 & V
Page 692 and 693: 94 Festa II 4 Festa I ? V V 7 V V V
Page 694 and 695: 95 5 10 15 @ $ % & & V V ? & V V ?
Page 696 and 697: 12 & & & V V ? 17 & & & V V ? 21 &
Page 698 and 699: 97 4 8 & V V & V V 12 & V V 16 & V
Page 700 and 701: 98 5 @$ & V 10 & V 15 & V 19 & V 23
Page 702 and 703: 99 & & & & & V & V & V & & 1 w w w
Page 704 and 705: & V & V V ? & V 38 ˙ œ œ œ œ
Page 709 and 710: INDEXES 1. INDEX OF THE COMPOSERS O
Page 711 and 712: - 469 - Gentile, Carlo Gentile (164
Page 713: - 471 - Willaert, Adrian Gero (1541
Page 716 and 717: - 474 - D’Oria, Giacomo Gardane (
Page 718 and 719: - 476 - Sanmartini, Pietro Corti (1
Page 720 and 721: - 478 - Dorico, Valerio Rome 1531 C
Page 722 and 723: - 480 - Silvani, Marino Bologna 170
Page 724 and 725: - 482 - 1584 Galilei (1584) Florenc
Page 726 and 727: - 484 - 1681 Caresana (1681) Naples
Page 728 and 729: - 486 - Title or First Line Collect
Page 749 and 750: I) PRIMARY SOURCES II) GENERAL BIBL
Page 751 and 752: - 509 - Berardi (1693) Berardi, Ang
Page 753 and 754: - 511 - De Magri (1611) Magri, Flor
Page 755 and 756: - 513 - Gintzler (1547) Gintzler, S
Page 757 and 758:
- 515 - Lassus (1560) Lassus, Orlan
Page 759 and 760:
- 517 - Pitoni (c. 1725) Pitoni, Gi
Page 761 and 762:
- 519 - Tinctoris (c. 1475) Tinctor
Page 763 and 764:
Bellingham & Evans, Bicinia - 521 -
Page 765 and 766:
- 523 - Haar, ‘Early Madrigal’
Page 767:
Seay, ‘Ave Maris Stella’ - 525
show all

Two-part didactic music in printed Italian collections of the ...

Create successful ePaper yourself

Delete template?

Save as template?