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.