The Science and Art of Renaissance Music by James Haar

By James Haar

As a unusual student of Renaissance tune, James Haar has had an abiding effect on how musicology is undertaken, owing in nice degree to a considerable physique of articles released over the last 3 a long time. amassed the following for the 1st time are consultant items from these years, protecting assorted issues of continuous curiosity to him and his readers: song in Renaissance tradition, difficulties of concept in addition to the Italian madrigal within the 16th century, the figures of Antonfrancesco Doni and Giovanthomaso Cimello, and the 19th century's perspectives of early music.

In this assortment, an identical topic is noticeable from numerous angles, and therefore provides a wealthy context for additional exploration. Haar used to be one of many first to acknowledge the price of cultural examine. His paintings additionally reminds us that the shut examine of the track itself is both vital. The articles contained during this publication express the author's conviction good distance to handle huge difficulties is to start through concentrating on small ones.

Originally released in 1998.

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Renaissance musicians could not find classical models for their art, but they could try, helped by Platonic and Pythagorean doctrine, for audible representation of ideal form, less tangible than as depicted in the visual arts but with a mysterious power all its own. Castiglione is not, as far as music is concerned, an ardent Neoplatonist, but in this passage he alludes, in his own way, to the ideal in music. What sets him apart from doctrinaire humanists on the subject is that he does not stop here as they did.

For example, we tend to think of the English upper classes in the past as hav­ ing been traditionally philistine about music, made so by their education if not their temperament. This generalization is least applicable, however, for the couple of generations of Englishmen who first read Castiglione in Sir Thomas Hoby's translation, published in 1561. We should also consider that whereas humanistic treatises on education tended to appropriate Plato's distaste for the music of his own time—thus Sassuolo da Prato, a pupil of Vittorino da Feltre, dismissed the (secular) music of the mid-fifteenth century as "inquinata, impudens, corrupta atque corruptrix"20—Castiglione on the contrary implies in his work that music 24 CHAPTER TWO such as that performed in Urbino in the early sixteenth century or Rome fifteen years later was worth an educated person's notice, and we know from his letters that he was fond of performing it himself.

1966), 23. S I X T E E N T H • C E N T V R Y M U S I C C R I T I C I S M 17 33. " 34. Istitutioni harmoniche, 3ded. , 1966), 171. 35. Prattica, 1592, fol. 13r. 36. , fol. 8v. The passage deals with the intrinsic qualities of music, which must be in the minds of composers, and the extrinsic qualities revealed in the music as actually written. 37. , fol. 7v; Prattica, 1622,154 and 260. 38. Prattica, 1622,259. 39. , one of the earliest of many examples of this use of the term. 40. Sopplimenti, 75: "i Colori ό Arie di esse Cantilene ...

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