MUSIC - ZARLINO, Gioseffo (1517-1590). Le Institutioni Harmoniche. Venice: Francesco de' Franceschi Senese, 1562. 2° (300 x 205mm). Italic type with roman, letterpress music. Woodcut device on title, numerous woodcut diagrams, some full-page, woodcut initials. (Foremargins of title and nine following leaves repaired and strengthened, some light old dampstaining). Modern vellum. Second edition of the foundation of modern music theory. Zarlino was a scholar and churchman of some renown (he turned down the bishopric of Chioggia in 1583) as well as being a leading composer of his day and the maestro di cappella or choirmaster of St. Mark's in Venice from 1565 until his death. His reputation as the 'father of modern music' rests on three treatises: the above work (first published, Venice: 1558); Dimostrationi armoniche (Venice: 1571) and Sopplimenti musicali (Venice: 1588). In this, the most important of the three, he considers all the traditional forms of counterpoint and attempts to redefine the conditions of polyphonic composition. Adams Z-78; RISM B VI; Fétis VIII, 510; Eitner X, 332.
MUSIC - ZARLINO, Gioseffo (1517-1590). Le Institutioni Harmoniche. Venice: Francesco de' Franceschi Senese, 1562. 2° (300 x 205mm). Italic type with roman, letterpress music. Woodcut device on title, numerous woodcut diagrams, some full-page, woodcut initials. (Foremargins of title and nine following leaves repaired and strengthened, some light old dampstaining). Modern vellum. Second edition of the foundation of modern music theory. Zarlino was a scholar and churchman of some renown (he turned down the bishopric of Chioggia in 1583) as well as being a leading composer of his day and the maestro di cappella or choirmaster of St. Mark's in Venice from 1565 until his death. His reputation as the 'father of modern music' rests on three treatises: the above work (first published, Venice: 1558); Dimostrationi armoniche (Venice: 1571) and Sopplimenti musicali (Venice: 1588). In this, the most important of the three, he considers all the traditional forms of counterpoint and attempts to redefine the conditions of polyphonic composition. Adams Z-78; RISM B VI; Fétis VIII, 510; Eitner X, 332.
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