Zarlino

ZARLINO, Gioseffo. Le institutioni harmoniche...nelle quali; oltra le materie appartenenti alla musica; si trovano dichiarati molto luoghi di poeti, d'historici, & di filosofi...
[Renaissance, Musiktheorie]

Venedig, Francesco Senese 1562. Folio. (6) Bll., 347 Ss., (1) S. (weiß). Mit Druckermarke auf Titel, über 50 Holzschnitt-Diagrammen und im zweiten Teil mit zahlreichen Musikbeispielen in Typendruck. Moderner Pergamenteinband (gebräunt, fleckig). RISM VI, 2. S. 908; Davidsson 604; Adams Z 77. Zweite Ausgabe. Zarlino (ca. 1517 - 1590, ab 1565 Kapellmeister an San Marco in Venedig) nimmt eine Gelenkstelle zwischen antiker und neuzeitlicher Musik ein. Er " bringt in seinen Abh. die hohe Selbsteinschätzung der Renaissance zum Ausdruck. er (sah) in A. Willaerts Musik einen Gipfel, wie er seit den alten Griechen nicht mehr erreicht worden war. Die Istitutioni harmoniche sanktionieren die Praxis des Kp., wie sie Willaert gelehrt hatte. Sie wird im dritten Tl. erl. und ist das zentrale Thema des Buches. Aber Zarlino war zu sehr Philosoph und Theologe, um sich nur mit der Wiedergabe von Kompos,-Regeln zu begnügen. In den ersten zwei Tln. des Buches wird die praktische Theorie der Kosmologie, Philosophie und Ak., wie man sie zu seiner Zeit verstand, untergeordnet. Die wichtigsten humanistischen Quellen als Voraussetzung für Zarlinos Denken sind M. Ficinos Übs. und Kommentar von Platons Timaios und die Harmonika von Ptolomaios...Von Platon übernahm er die Idee der Weltenharmonie... Die Kp,-Regeln Zarlinos sind ... vor allem detaillierter und vollkommener rationalisiert als bei seinen Vorgängern. Das hervorstechendste Merkmal seiner Methode ist der Begriff der harmonia perfetta... Zarlino wandte sich lautstark gegen alle, die die moderne Musik geringer achteten als die der alten Griechen oder meinten, sie könne nicht ausdrucksvoll in, ohne die antiken chromatischen und enharmonischen Tongeschlechter nachzuahmen. Er bestand vielmehr auf der Vereinigung von vier Elementen: Harmonie, Metrum, Text und aufnahmebereiten Zuhörer" (MGG 14, Sp. 1019/1020. Erste und letzte Bll. gebräunt und etwas fleckig, sonst innen überwiegend sauber (die Blattränder immer mal wieder etwas finger- oder braunfleckig bzw. leicht wasserrandig). Die erste Lage neu eingefalzt und am Rand etwas abweichend beschnitten. Vereinzelte Wurmgänge (überwiegend zu Beginn, Buchstabenverlust); Marginalien um 1800 (tls. etwas verlaufen).

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FUBINI, ENRICO: L'ESTETICA MUSICALE DALL'ANTICHITA AL SETTECENTE + L'ESTETICA MUSICALE DAL SETTECENTO A OGGI - 2 volumi, Torino Giulio Einaudi Editore 1976 ; weicher Einband / soft cover
Buon duo.

'Piccolo Biblioteca Einaudi' - 50 + 285. Con bibliografia e indice dei nomi. Materie: I): 1). Da Omero al Pitagorici. 2). Platone, Aristotele e la crisi del pitagorismo. 3). Dal mondo antico al Medioevo. 4). Il Medioevo. 5). Il dibattito sull' Ars Nova, 6). Il Rinascimento e la nuova razionalita. 7). Parola e musica nella controriforma. II): 1). La musica nella cultura illuministica. 2). Il romanticismo. 3). La reazione al romanticismo e il positivismo. 4). La musicologia in Francia. 5). Estetica e musicologia nei paesi anglosassoni. 6). L'idealismo e l'estetica musicale in Italia. 7). L'estetica e la dodecafonia. 8). Le poetiche dell'avanguardia. VII + 167 e 288 pag. 1a e 2a edizione Brossura/paperback 18cmx10,5cm; 1a e 2a edizione

[SW: italia raguenet lecerf rameau bach wackenroder schelling hegel schopenhauer wagner nietzsche hanslick strawinsky gisele brelet boris de schloezer susanne langer leonard meyer schönberg dodecafonia hindemith webern boezio johannis de muris jacob di liegi johannes tinctoris heinrich glareanus gioseffo zarlino camerata dei bardi artusi monteverdi leibniz]

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KIRCHER, Athanasius 1601-1680. Musurgia Universalis [Subtitle]: sive ars magna consoni et dissoni in X libros digesta. Qua universa sonorum doctrina, et philosophia, musicaeque... aperiuntur et demonstrantur. Tomus I [-II qui continet... musicam mirificam... magiam consoni et dissoni... harmoniam mundi]. Rome: Francesco Corbelletti [II Ludovico Grignani], 1650.
First Edition. Damschroder pp. 139-140. Cortot pp. 99-100. Hirsch I, 266. Gregory-Bartlett I, p. 135. Wolffheim I, 732. RISM BVI p. 449.
An extraordinary undertaking by this Jesuit polymath, sometimes referred to as "the last Renaissance man," author of approximately 40 works in a diversity of disciplines. The Musurgia was an attempt to present the entire body of musical knowledge up to Kircher's time, and is particularly valuable for both its engraved plates of musical instruments and its inclusion of extensive musical examples, many of which are complete 16th and 17th century works chosen to illustrate various styles. The work is widely considered to have been a great success, with Kircher's wide- ranging and insightful scholarship.
"... Musurgia universalis, one of the really influential works of music theory, was drawn upon by almost every later German music theorist until well into the 18th century..."
"... Much of Kircher's contrapuntal doctrine derives from Zarlino, and in this and some other respects Musurgia universalis presents a synthesis of 16th- and 17th-century Italian and German compositional practices. A specifically German feature, however, is the description of the affective nature of music, in which Kircher brought the concept of musica pathetica into relation with the formal constructive elements of rhetorical doctrine..."
"... His ideas concerning the classification of musical styles, based on sociological as well as national characteristics, are also original and important for the study of Baroque music... Although he was apparently not a practising musician he was able to identify the best music composed and performed in his own (and earlier) times. In Musurgia universalis he quoted frequently extensive music examples from composers such as Agazzari, Gregorio Allegri, Carissimi, Froberger, Gesualdo, Kapsberger, Domenico Mazzocchi and Morales. Other aspects of his treatise that contribute to an understanding of 17th-century musical thought include the lengthy discussions of acoustics, musical instruments..., the history of music in ancient cultures and the therapeutic value of music." George J. Buelow in Grove online
Copies of this monumental work are often found to be lacking one or more plates and, in addition, are usually quite trimmed. The present copy is complete and has good margins throughout.
Arguably the most spectacular 17th century book on music; a cornerstone of the literature.

2 volumes. Folio. Early mid-tan half calf with marbled boards with spine in decorative compartments and leather title labels gilt.
Volume I: 1f. (fine full-page engraved pictorial title by Baronius after a drawing by Paul Schor, incorporating a Canon Angelicus for 9 choirs of 36 voices), 1f. (recto title with vignette, verso contents), 1f. (fine full-page dedicatory engraving of Leopold-Guillaume, Archduke of Austria, by Paul Ponti after Paul Schor, dated 1649), 9ff., 690 (=692) pp. + 11 numbered plates (I-X, XIII) printed on one side of each of 10 leaves.
Volume II: 2ff. (title with vignette, fine full-page engraved frontispiece), 462 pp. + 18 ff. (indexes and errata) + 12 numbered plates (XI-XI, XIV-XXXIII) printed on one side of each of 11 leaves.
The two volumes thus contain 3 unnumbered full-page plates together with 23 numbered plates printed on 21 leaves (plates IV and V are printed on a single leaf, as are plates XI and XII). The plates are all finely engraved and illustrate a variety of musical instruments including the harpsichord, organ, strings and winds. With numerous woodcut illustrations, diagrams, tables, etc. within text, including many of musical instruments. Musical examples printed typographically in diamond-head notation, including many of various musical forms including multiple contrapuntal part-writing. Occasional early manuscript annotations, including corrections to pp. 88, 89, 308 of Volume I and pp. 94, 96, 105 and 108 of Volume II and early ownership signature to upper outer corner of title (slightly trimmed), most probably in the same hand.
Binding refurbished; corners and edges somewhat worn. Some browning, spotting and occasional minor staining and edges tears; several marginal tears repaired; some mispagination to Volume I at pp. 554- 560 and errors in pagination from page 577 on.

[SW: History 17th Century Italian newyork2011 17th century musical literature Italian musical literature]

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Acta Musicologica. Mitteilungen der Internationalen Gesellschaft für Musikwissenschaft. Elschek, O.: Gegenwartsprobleme der musikwissenschaftlichen Systematik. Harran, D.: New Light on the Question of Text Underlay Prior to Zarlino. Anderson, G. A.: Magister Lambertus and Nine Rhythmic Modes. Smith, N. E.: Interrelationships among the Graduals of the Magnus Liber Organi. Hudson, R.: The Folia Melodies. Bernstein, L. F.: The Bibliography of Music in Conrad Gesner's Pandectae (1548). Cattin, G.: Nuova Fonte Italiana della Polifonia intorno al 1500 (MS. Cape Town, Grey 3.b.12). Heimes, K. F.: The Ternary Sonata Principle before 1742. Wagenaar- Nolthenius, H.: Ein Münchner Mixtum - Gregorianische Melodien zu altrömischen Texten. Basel, Bärenreiter, 1973.
Vol. 45 (In 2 Heften).
Bankverbindung in Deutschland vorhanden.

Gr.-8°. 256 S. Orig.-Kart..

[SW: Musikwissenschaft]

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