Gioseffo Zarlino


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Zarlino, Gioseffo

 

Born (probably) Apr. 22, 1517 (according to other sources, January 31 or March 22), in Chioggia; died Feb. 14, 1590 (according to other data, February 4), in Venice. Italian composer, organist, and music theorist.

Zarlino was music director at Saint Mark’s in Venice. A progressive Renaissance scholar, he laid the foundations for the modern study of harmony. In formulating his theories, Zarlino relied on his ear rather than on abstract calculations. The complete edition of his theoretical works was published in Venice in 1588 and 1589. Zarlino’s compositions include motets and madrigals.

REFERENCE

Flury, R. G. Zarlino als Komponist. Winterthur, 1962.
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Se trata de celebrar el quinto centenario del natalicio de Gioseffo Zarlino (1517-90), el teorico de la musica mas destacado del Renacimiento, (1) cuyas aportaciones abrieron, ni mas ni menos, nuevas rutas en la consolidacion del lenguaje sonoro de Occidente.
A obra de Gioseffo Zarlino, Istitutioni harmoniche, de 1558, sistematiza esta oposicao, propondo dividir todos os estudos teoricos da musica em duas partes: a historia e o metodo.
His father Vincenzo was also a music theorist, and wrote prolifically on the problem of tuning in his Dialogo della musica antica, et della moderna (Galilei, 1581) and the Discorso intorno all'opere dimesser Gioseffo Zarlino (Galilei, 1589).
Under the circumstances, it is useful to recall another issue, also involving the timbre parameter of the sound, and that has inflamed the world of music theorists for over three hundred years, since the discovery of overtones as constituents of a complex sound (first mentioned by Gioseffo Zarlino, in his Le istitutioni harmoniche, 1558).
Gioseffo Zarlino, a Renaissance music theorist, takes up this notion in Institutioni harmoniche.
Obras como Le istitutioni harmoniche (1558), Dimonstrationi harmoniche (1571) y Sopplimenti musicali (1588) de Gioseffo Zarlino proponian no solo una racionalizacion sistematica de la armonia, sino que consideraban dicha racionalizacion un espejo del orden mismo de la naturaleza.
Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto Da Pavoda to Gioseffo Zarlino.
His first profession was as a lutenist, but his intellectual abilities were early recognized by his Florentine patron, Giovanni de' Bardi, who sent him to Venice to study music theory with Gioseffo Zarlino around 1563 (the year before the birth of his first son, Galileo).
Two examples include: Heinrich Loritus's (better known as Glareanus) treatise, Dodecachordon (Basel, 1547), a treatise in part that explores a system of ecclesiastical modes, and which in turn, influenced such writers as Gioseffo Zarlino, whose Istitutioni Harmoniche (Venice, 1558) can also be found in Selch's collection (catalog, pp.
The next section of the book contains two chapters devoted to Gioseffo Zarlino and his treatise Le istitutioni harmoniche (1558), described by Judd as "the culmination of the art of presenting musical examples in printed treatises within an intellectual culture in which musical theory had achieved its own place" (180).
Gioseffo Zarlino (1517-1590) is familiar to many as the author of a series of important writings on modality, counterpoint, and the craft of composition.
It might be noted that Gioseffo Zarlino gave expression to the tendency to accommodate the music to the text by formulating it as a compositional directive.