Glarean

Glarean

 

(Glareanus; pseudonym of Heinrich Loris; also Loritus, Loriti). Born June 1488, in Mollis, canton of Glarus; died Mar. 28, 1563, in Freiburg. Swiss humanist scholar, music theoretician, and educator.

Glarean began to study at the University of Cologne in 1506, and in 1510 he became a master of arts. He taught at the universities of Basel (in 1514 and from 1522) and Paris (1517-22). In 1529 he became a professor of poetics at Freiburg. Glarean was an erudite scholar. His articles on music exercised considerable influence on the development of music theory and are an important source for modern music scholars. Glarean’s main musical treatise is the Dodecachordon (1547). He broadened the system of modes, adding four new modes to the medieval eight. In his modal system he distinguished two main modes—the Ionian (major) and the Aeolian (minor)—which were widespread in musical practice (especially popular) but not admitted by conservative musicians. The Italian Renaissance composer and musical scholar G. Zarlino developed Glarean’s system.

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As a further example, Iain Fenlon tells, in his essay "Hernando Colon, Heinrich Glarean and others" (p.
186) A letter by Heinrich Glarean confirms that Zwingli purchased the 1515 Aldine edition of Tertuallian's Apologeticum; yet Zwingli references Tertullian explicitly some fifty times, frequently from works other than the Apologeticum.
Her painstaking reconstruction of this process of selection and of the sources used is presented in the second of the two chapters on Glarean.
This is a misunderstanding of Zarlino and Glarean, and it serves to obscure just.
Iain Fenlon reconstructs, in turn, the library of the music theorist and humanist Heinrich Glarean, in which classical texts are paramount.
It is now certain that Josquin worked for Louis XII (this is separate from Fallows's determination that Glarean confused Louis XI and Louis XII), who provided him with the benefice as a canon at St.
But Zarlino's book includes a curious twist: in the tenor partbook each piece gets a modal label, in this case using the pseudo-Greek terminology pioneered just two years earlier by Heinrich Glarean (1488-1563) in his great codification of the twelve modes, the Dodecachordon (Basel: Henricus Petri, 1547; reprint, New York: Broude Bros.
While the presence of foreign treatises in England during Byrd's lifetime is undeniable, the influence of their presence upon English theory and practice remains a question, even with theorist-composers such as Morley, who makes frequent reference to Zarlino and Glarean, among many others.
Petrucci provides only a text incipit, "Sic unda impellitur unda," and Drake notes concordances in music treatises by Sebald Heyden (De arte canendi [Nuremberg: Johan Petreius, 1540; reprint, New York: Broude, 1969]) and Heinrich Glarean (Dodekachordon [Basel: Heinrich Petri, 1547; reprints, New York: Broude, 1967; Hildesheim: G.
The editor's own contribution to this anthology, "Sic ego te dilegetion," analyzes the homonymous motet attributed to Josquin des Prez by Heinrich Glarean.
As Bergquist explains, Lasso steadfastly followed this theoretical backdrop in many of his printed sets and cycles, even as contemporary theorists such as Heinrich Glarean and Gioseffo Zarlino promoted new systems based on twelve modal categories.
Kurtzman's modal analyses, which draw on the Renaissance tradition of Heinrich Glarean and Gioseffo Zarlino, seem at first to create something of a procrustean bed for Monteverdi's music.