Now thanks to Cristle Collins Judd's editorial patience and careful detective work we can all begin to measure Zarlino's musical works against the twin contexts of his theoretical writings and certain cultural forces at work in northern Italy during the late sixteenth century. Some of the works are freely composed, but there are also tenor cantus firmus settings in a conservative style (including a Pater noster /Ave Maria setting in which the tenor part yields two additional canonic voices for a total of seven parts), and several works in which liturgical melodies for the given antiphon or sequence are paraphrased in the various polyphonic voice parts (the edition marks out the connections in the score).
MUSIC REVIEWS Edited by Darwin F. Scott
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