(Lest Joao IV should come across as a unique eccentric, Elisabetta Pasquini recounts how Padre Martini obtained a promise from Pope Benedict XIV in 1750 that his library, too, would not be dispersed, but kept intact as a single collection.) As a further example, Iain Fenlon tells, in his essay "Hernando Colon, Heinrich Glarean
and others" (p.
There may be truth to Heinrich Glarean
's stories of how Josquin came to write Memor esto verbi tui and Guillaume se va chauffer this is a matter not of confused Josquins but rather of misidentified kings (Louis XI and Louis XII).
In particular, Judd refers to the German Swiss Catholic humanist Heinrich Glarean
's appropriation of a set of Heyden's examples for use in his own treatise on mode, the Dodecachordon (1547), as a graceful transition to two chapters on Glarean's process of exemplification.
The music theory treatises in the third chapter span a wide range of dates and topics, from the mathematical treatment of intervals in Cassiodorus to Heinrich Glarean
's twelve church modes.
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., 1967; Hildesheim: G.
Iain Fenlon reconstructs, in turn, the library of the music theorist and humanist Heinrich Glarean
, in which classical texts are paramount.
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
. Here Borgerding chooses his examples well and provides a forceful argument for the possible homoerotic content of the polyphonic setting.
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.
His use of Heinrich Glarean
's twelve-mode system to describe the tonality of the works strikes me as a bit strange; Palestrina himself seems not to have recognized this system, and Harold Powers's tonal types are a better means of classification.
Didactic music theorists worked in the prosperous and academic environment of Basle, acquiring libraries that lain Fenlon uses as evidence of their broad and humanistic learning (Beatus Rhenanus, 1485-1547: 760 volumes of more than a thousand works; Heinrich Glarean
1487-1563: 74 identified volumes of a much larger collection, plus 21 of his own publications).
As Heider correctly notes, the sequence of modes follows the scheme of numbering set out by Gioseffo Zarlino in the 1573 edition of his Istitutioni harmoniche rather than the system advocated some years earlier by Heinrich Glarean
's Dodecachordon of 1547.