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Autore: Grafiati

Pubblicato: 26 luglio 2024

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1

Crook, David. "A Sixteenth-Century Catalog of Prohibited Music". Journal of the American Musicological Society 62, n. 1 (2009): 1–78. http://dx.doi.org/10.1525/jams.2009.62.1.1.

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In 1575 the Jesuit general in Rome issued an ordinance governing the use of music in the order's rapidly expanding network of colleges. Motets, masses, hymns, "and other pious compositions" were to be retained; indecent and "vain" music was to be burned. Sixteen years later the Jesuits' provincial administrator in Bavaria drew up a set of supplemental instructions, to which was appended a catalog of prohibited music as well as a complementary list of approved compositions (D-Mbs Clm 9237). Verbal texts treating drunkenness and erotic love account for the majority of banned pieces, but in some cases—a setting of the first verse of Psalm 137 by Orlando di Lasso, for example—the sound and style of the music led to its prohibition. Although intended for all colleges within the Jesuits' Upper German province, this catalog apparently derives solely from a review of the music collection of Munich's college on the occasion of its move in 1591 to a magnificent new building financed by the duke of Bavaria. Like the architecture and curriculum of the college, the music catalog reflected Bavaria's new understanding of its role as principal post-Tridentine defender of the true faith. And, like the formal confessions of faith, catechisms, and service books promulgated by Europe's Churches during the late sixteenth century, Bavaria's catalog of prohibited music gave expression to an ideology of difference and exclusion that lies at the very heart of post-Reformation Christianity.

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2

Coeurdevey, Annie, e Peter Bergquist. "Orlando di Lasso Studies". Revue de musicologie 86, n. 2 (2000): 347. http://dx.doi.org/10.2307/947409.

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3

Korndle, Franz, Ted Rippey e Pamela Pamela. "Orlando di Lasso Studies . Peter Bergquist ." Journal of the American Musicological Society 53, n. 3 (ottobre 2000): 624–29. http://dx.doi.org/10.1525/jams.2000.53.3.03a00070.

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4

Crook, David, e James Erb. "Orlando di Lasso: A Guide to Research". Notes 49, n. 1 (settembre 1992): 86. http://dx.doi.org/10.2307/897196.

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5

Schuler, Manfred. "Orlando di Lasso und die Konstanzer Domkantorei". Die Musikforschung 33, n. 2 (22 settembre 2021): 184–89. http://dx.doi.org/10.52412/mf.1980.h2.1680.

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6

Körndle, Franz, Ted Rippey e Pamela Potter. "Review: Orlando di Lasso Studies by Peter Bergquist". Journal of the American Musicological Society 53, n. 3 (2000): 624–29. http://dx.doi.org/10.2307/831941.

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7

Boetticher, Wolfgang. "Jacobus Gallus und Orlando di Lasso. Einige Betrachtungen zum Problem des Stilvergleichs in Motettenrepertoire". Musicological Annual 22, n. 1 (1 dicembre 1986): 5–13. http://dx.doi.org/10.4312/mz.22.1.5-13.

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8

Freedman, Richard. "Orlando di Lasso: Seine Werke in zeitgenossischen Drucken, 1555-1687 (review)". Notes 59, n. 2 (2002): 330–31. http://dx.doi.org/10.1353/not.2002.0169.

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9

Lodes, Birgit. "Orlando di Lasso, Erbprinz Wilhelm von Bayern und die Commedia all`'improvviso". troja. Jahrbuch für Renaissancemusik 15 (3 novembre 2020): 235–74. http://dx.doi.org/10.25371/troja.v20162734.

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10

Fisher, Alexander J. "‘Per mia particolare devotione’: Orlando di Lasso'sLagrime di San Pietroand Catholic Spirituality in Counter-Reformation Munich". Journal of the Royal Musical Association 132, n. 2 (2007): 167–220. http://dx.doi.org/10.1093/jrma/fkm006.

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In his magisterialLagrime di San Pietro(1595) Orlando di Lasso composed a cycle of 20 madrigals on texts by Luigi Tansillo on the theme of St Peter's denial of Christ and his subsequent remorse, capped by a Latin motet (‘Vide homo‘) representing the rebuke of the crucified Christ. TheLagrimemay be seen as a penitential gesture on Lasso's part, but a textual and musical analysis also suggests numerous parallels with contemporary Catholic spiritual exercises, particularly those of Ignatius of Loyola and Luis of Granada. The cycle thus takes its place in a broader Counter-Reformation discourse of meditation and penance.

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11

Erb, James, Horst Leuchtmann e Hartmut Schaefer. "Orlando di Lasso: Prachthandschriften und Quellenuberlieferung; aus den Bestanden der Bayerischen Staatsbibliothek Munchen". Notes 52, n. 2 (dicembre 1995): 454. http://dx.doi.org/10.2307/899043.

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12

Tammen, Björn R. "Zur Wiener Prachthandschrift der Hochzeitsmotette "Gratia sola Dei" (1568) von Orlando di Lasso". Die Musikforschung 68, n. 1 (22 settembre 2021): 1–21. http://dx.doi.org/10.52412/mf.2015.h1.447.

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Das Chorbuch A-Wn 2129 überliefert auf insgesamt 15 reich verzierten Pergamentblättern im Riesenformat (64 x 59 cm) die für die "Jahrhunderthochzeit" des Wittelsbacher Erbprinzen, Wilhelms, V., mit Renata von Lothringen bestimmte Festmotette "Gratia sola Dei" von Orlando di Lasso (LV 364). Auf die Zierbordüren entfallen nicht weniger als 260 Einzelszenen mit Motiven aus den biblischen Büchern Genesis, Tobias, Esther, Daniel sowie Judith, außerdem enthält die Handschrift ein knappes Hundert ornamentaler fratzenhafter Masken (sog. Maskarone). A-Wn 2129 wirft spannende Fragen nach der Konzeption und Realisierung, dem Zusammenspiel der für eine derartige Prachthandschrift erforderlichen Instanzen auf, die nach einer deskriptiven Bestandsaufnahme angestoßen werden.. bms online (Cornelia Schöntube)

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13

Liessem, Franz. "Phileno Agostino Cornazzani, oberster Instrumentalist der herzoglichen Hofkapelle zu München unter Orlando di Lasso". Die Musikforschung 24, n. 4 (21 settembre 2021): 368–85. http://dx.doi.org/10.52412/mf.1971.h4.2100.

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14

Bergquist, Peter. "A Tribute from Johannes Eccard to Orlando di Lasso at Concordia Seminary, St. Louis". Notes 60, n. 3 (2004): 603–12. http://dx.doi.org/10.1353/not.2004.0003.

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15

Heinzel, Alexander, e Bernhold Schmid. "Neu aufgefundene Satze von Orlando di Lasso: zwei "Adoramus te Christe" und ein "Salve regina"". Archiv für Musikwissenschaft 55, n. 2 (1998): 132. http://dx.doi.org/10.2307/931119.

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16

Bergquist, Peter. "The Chansons of Orlando di Lasso: Music, Piety, and Print in Sixteenth-Century France (review)". Notes 58, n. 3 (2002): 583–85. http://dx.doi.org/10.1353/not.2002.0007.

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17

Olmos. "LA INFLUENCIA DE ORLANDO DI LASSO EN LA OBRA CORAL RELIGIOSA A CAPELLA DE FRANCIS POULENC". Revista de Musicología 27, n. 1 (2004): 273. http://dx.doi.org/10.2307/20797851.

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18

Ambiel, Áurea Helena de Jesus. "Lamentationes Jeremiae Prophetae de Orlando Di Lasso: algumas figuras retórico-musicais na Lamentatio Prima Primi Diei (Feria Quinta In Coena Domini)". Per Musi, n. 18 (dicembre 2008): 77–89. http://dx.doi.org/10.1590/s1517-75992008000200010.

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Este artigo tem como proposta a identificação, na primeira lição das Lamentationes Jeremiae Prophetae, de Orlando Di Lasso (Lamentatio Prima Primi Diei), de figuras retórico-musicais, utilizando a terminologia de época. Para tanto, o trabalho está baseado principalmente na obra Musica Poetica (Rostock, 1606) de Joachim Burmeister, tradução de Benito V. Rivera (Musical Poetics, 1993). A pesquisa faz parte de um projeto de doutorado, que tem como objeto de estudo a obra completa Lamentationes Jeremiae Prophetae (a 5 vozes), que se compõe de três partes: Feria Quinta In Coena Domini, Feria Sexta In Parasceve e Sabbato Sancto. A abordagem analítica de toda a obra deverá seguir a metodologia proposta por Burmeister na sua quinta categoria de análise ("resolução da composição em afetos ou períodos"), além de conter observações concernentes ao uso de figuras e outros artifícios retórico-musicais, seguindo indicações propostas por autores contemporâneos a Lasso que, em muitos casos, citam trechos de suas obras como exemplos para suas colocações. Com o resultado da pesquisa, espera-se fornecer subsídios analíticos que possam reverter em uma interpretação mais segura e historicamente mais bem fundamentada.

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19

Kratz, Leonore. ""Orlandus Coryphaeus in Arte Harmonicâ"". Die Musikforschung 67, n. 2 (22 settembre 2021): 109–33. http://dx.doi.org/10.52412/mf.2014.h2.71.

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Das Opus plane novum von Sebastian Hornmold erfüllt unterschiedliche Funktionen: Zunächst einmal ist es eine bisher unbekannte Quelle zu Orlando di Lasso, die zwar keine neuen Informationen über sein Leben und Werk zutage fördert, aber durchaus als ein ergänzender Teil der Lasso-Rezeption gewertet werden kann. Darüber hinaus vermittelt das Werk ein wichtiges Bild des Musiklebens um 1600, und zwar aus der Perspektive eines Staatsmannes, der sich nebenbei dichterisch engagierte und zudem über eine erstaunliche Kenntnis der zeitgenössischen Musikwelt verfügte. Vor allem aber reiht das vierte Buch der Elegiensammlung sich in zahlreiche Beispiele ein, die zeigen, dass die Musik sich in Zeiten der Konfessionalisierung nicht zwingend an die territorialen und politischen Grenzen hielt, sondern diese oftmals brückenartig miteinander verband. Vielleicht kann Hornmolds Opus plane novum ein Anstoß sein, sich mit dem Thema Musik und Konfession in Zeiten der Konfessionalisierung neu zu befassen, umzudenken und einer über konfessionellen Perspektive mehr Raum zu geben.

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20

Coeurdevey, Annie, e Richard Freedman. "The Chansons of Orlando di Lasso and Their Protestant Listeners. Music, Piety, and Print in Sixteenth-Century France". Revue de musicologie 87, n. 2 (2001): 489. http://dx.doi.org/10.2307/947115.

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21

Lewis, Susan G., e Richard Freedman. "The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France". Sixteenth Century Journal 34, n. 3 (1 ottobre 2003): 921. http://dx.doi.org/10.2307/20061623.

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22

Bergquist, Peter. "The Anonymous Propers in Munich Mss. 32 and 76: Are They Previously Unknown Works by Orlando di Lasso?" Acta Musicologica 65, n. 1 (gennaio 1993): 4. http://dx.doi.org/10.2307/932643.

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23

Turci-Escobar, John. "An Intervallic Approach to Sixteenth-Century Chromaticism". Journal of Music Theory 65, n. 2 (1 ottobre 2021): 239–85. http://dx.doi.org/10.1215/00222909-9143197.

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Abstract This article proposes an intervallic approach to classifying and interpreting sixteenth-century chromaticism. The approach is based on a distinction between active leading tones, which imply resolution by diatonic semitone, and stable notes, which do not. This distinction underlies a dyadic approach to categorizing contrapuntal uses of chromatic semitones, providing an alternative to prevalent classifications by interval of triadic root or bass motion. The article distinguishes three chromatic semitone types: (1) normative/expressive, (2) chromatically deflected leading tones, and (3) chromatically thwarted leading tones. For each type, the article discusses representative examples drawn from motets and madrigals by Orlando di Lasso, Giaches de Wert, Luca Marenzio, Luzzasco Luzzaschi, Alfonso Fontanelli, and Carlo Gesualdo, and considers how the chromatic semitones express the poetic texts.

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24

Štefancová, Dagmar. "Unknown Organ Tablature from the Early Seventeenth Century". Musicalia 9, n. 1-2 (2017): 125–48. http://dx.doi.org/10.1515/muscz-2017-0012.

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In the course of research on fragments from the National Museum Library, a large torso was discovered containing hitherto unknown organ tablatures from the early seventeenth century (shelf mark CZ-Pn 1 K 219). The author of the article reassemble the torso based on signatures and analyzed its content, which consists of intabulations of sacred compositions by leading Renaissance composers (e.g. Orlando di Lasso, Tomás Luis de Victoria, Jakob Handl-Gallus) as well as some lesser-known composers. On the basis of analysis, she then focused her attention on Silesia and the German-speaking milieu of northern Bohemia and Moravia, compared the tablature with similar sources from Czech and foreign collections, and placed it in the context of musical practice in the milieu of Lutheranism.

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25

Calderón Urreiztieta, Carlos. "Experiencia estética y formulación científica: el caso del Harmonices Mundi de Johannes Kepler". Anuario Musical, n. 68 (30 dicembre 2013): 81. http://dx.doi.org/10.3989/anuariomusical.2013.68.149.

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La música como modelo explicativo del universo ha estado presente desde el mismo nacimiento de la reflexión filosófica. En el caso de Kepler, la música y la astronomía quedaban homologadas sobre la base de un único arquetipo geométrico, y por ello podían compartir sus observaciones, teorías e, incluso, emotividades. Las condiciones históricas que posibilitaron esta interconexión están fundamentadas en la sólida formación musical de Kepler, su interés por la polifonía de sus contemporáneos y, en especial, por la música de Orlando di Lasso. Visto así, una experiencia estética musical, permitió a Kepler configurar un marco de verdades sobre el que formuló y contrastó sus teorías; tal como puede leerse – y escucharse – en los mismos textos del Harmonices Mundi. Enlace fundamental para este ensayo: http://www.calderon-online.com/anuariomusical/kepler/

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26

Corrêa, João Francisco de Souza. "Quarteto de Cordas nº 3 de Alfred Schnittke". Per Musi, n. 40 (15 giugno 2021): 1–22. http://dx.doi.org/10.35699/2317-6377.2020.20068.

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Este estudo é uma análise do processo composicional intertextual de Alfred Schnittke no seu Quarteto de Cordas nº 3 (1983). O objetivo da análise é compreender como Schnittke abstrai elementos musicais de obras de outros compositores (“textos”) para reutilizá-los em seu Quarteto, especificamente o tema da Grande Fuga op. 133 de Beethoven, um motivo do Stabat Mater de Orlando Di Lasso e o monograma DSCH de Dmitri Shostakovich. Para tanto, este estudo discorre sobre: o uso de citações e alusões segundo Schnittke; a gênese e a estrutura do Quarteto de cordas nº 3; e a forma como os textos apropriados por Schnittke são resignificados em sua obra. A análise demonstrou que Schnittke realiza diversas transformações nos textos abstraídos para adaptá-los ao contexto sonoro e estrutural do Quarteto de cordas nº 3.

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27

Petersen, Nils Holger. "W. A. Mozart’s Litaniae lauretanae Compositions and the Loreto Pilgrimage". Eventum: A Journal of Medieval Arts & Rituals 1 (20 settembre 2023): 82–105. http://dx.doi.org/10.54103/2023/20267.

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The Litaniae lauretanae (the Litany of Loreto), a Marian litany with medieval roots, has been set numerous times in polyphony, as well as in grand settings with soloists and orchestra, to be performed all over Catholic Europe. Famous musicians who composed settings of the Litany of Loreto include Orlando di Lasso, Giovanni Pierluigi da Palestrina, Claudio Monteverdi, Heinrich Biber, and Wolfgang Amadeus Mozart. This article discusses Mozart’s two settings of the Litaniae lauretanae that were composed in May 1771 and in 1774. The analysis of parts of Mozart’s settings in the light of the historical background of Loreto pilgrimages and the litany’s ritual and musical uses highlights some of their remarkable musical features. It is argued that Mozart’s settings, more than any other major contemporary ones, constitute musical reenactments of ritual experience.

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28

His, Isabelle, Bernhold Schmid, I. Bossuyt, E. Schreurs e A. Wouters. "Orlando di Lasso in der Musikgeschichte. Bericht über das Symposion der Bayerischen Akademie der Wissenschaften. München, 4-6 Juli 1994". Revue de musicologie 83, n. 2 (1997): 304. http://dx.doi.org/10.2307/946926.

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29

Owens, Jessie Ann, e Bernhold Schmid. "Orlando di Lasso in der Musikgeschichte: Bericht uber das Symposion der Bayerischen Akademie der Wissenschaften, Munchen, 4.-6. Juli 1994". Notes 55, n. 3 (marzo 1999): 649. http://dx.doi.org/10.2307/900421.

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30

Schmid, Bernhold. "Das „Gaudeamus omnes“-Zitat in Lassos Motette Nunc gaudere licet und sein Kontext – Aspekte der geistlichen Parodie bei Orlando di Lasso". Journal of the Alamire Foundation 5, n. 2 (settembre 2013): 237–59. http://dx.doi.org/10.1484/j.jaf.1.103495.

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31

Cyrus, Cynthia J. "Review: The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France By Richard Freedman". Journal of the American Musicological Society 57, n. 3 (2004): 651–56. http://dx.doi.org/10.1525/jams.2004.57.3.651.

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32

Jadczak, Patryk. "The artistic setting of the French celebration of Henry III’s proclamation as the Polish King in the summer of 1573". Notes Muzyczny 2, n. 20 (31 dicembre 2023): 39–64. http://dx.doi.org/10.5604/01.3001.0053.9947.

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In the second half of the 16th century, Europe was a stage of various political, military, religious and cultural actions, which took place as a result of the occurrence of larger processes, such as counter-reformation, or they were an impulse for change themselves. Such a situation took place in the Polish-Lithuanian Commonwealth when the last male representative of the Jagiellonian dynasty died without an heir in 1572. The result of this event was the exciting political game for the Polish crown, and the winner was Henry III, the young prince d’Anjou, son of Henry II and Catherine de' Medici, whose election in 1573 opened a new chapter in the Polish statehood.Three months after the election ,Polish emissaries stood at the gates of Paris to bow to the new king, present him with conditions for taking the throne and bring him to Poland where his coronation was to be held in Cracow. Polish legation was awaited in the French capital city and a grand welcoming was prepared for them – the welcoming was to be the first of several celebrations constituting a monumental ceremony of proclamation of Henry III as King of Poland. The present article discusses the stages of Parisian celebrations held in August and September 1573 with their artistic setting. It was arranged and performed by a numer of ourstanding artists representing different fields of art: architecture, sculpture, painting, poetry, music, choreography and dance, and the artists we should mention are Orlando di Lasso, Jean Dorat, Antoine Caron and Germain Pillon. The setting (among other elements) consisted of occasional architectural decorations with complementary visual and inscriptive material, acrobatic shows, and dancing and drama performances, which – thanks to their sophisticated symbolism – were an important tool to create the image of the new king.

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Wagner Oettinger, Rebecca. "RICHARD FREEDMAN, The Chansons of Orlando di Lasso and their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France. Eastman Studies in Music. Rochester, NY, University of Rochester Press. 2000. xxiv + 259 pp." Early Music History 21 (4 settembre 2002): 259–90. http://dx.doi.org/10.1017/s0261127902212073.

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Gerver, Larisa L. "The Fixed Poetic Form vs the Musical Form: The Experience of Analyzing Madrigal Settings of Sestina Texts". Problemy muzykal'noi nauki / Music Scholarship, n. 3 (2023): 23–34. http://dx.doi.org/10.56620/2782-3598.2023.3.023-034.

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The fixed poetic forms of Petrarch’s Canzoniere and the poetical works of the Petrarchist poets who imitated the great Italian master frequently served as texts for 16th century madrigals. In this connection, the author of the present article poses the question about the possible impact of the fixed poetic form on the form of the respective musical composition. A preliminary familiarization with madrigals composed on the texts of the sonnets, ballatas and sestinas (Italian: sestine) has shown that imitations of the poetic forms is the most discernible in those cases when the composer turns to the sestina to set it to music. The main material for analysis has been formed by the cyclic madrigals: Là ver l’aurora che sì dolce l’aura by Orlando di Lasso and Non fu mai cervo si veloce al corso, Sola angioletta starsi in trecie a l’ombra and Giovane donna sotto un verde lauro by Luca Marenzio, composed on the full texts of sestinas, as well as a few other similar works. The sestina consists of six stanzas each containing six lines, along with a conclusory stanza of three lines. The special rhyme pattern for the sestina, featuring six words defining the rhythms invariably repeated in the six main stanzas following the scheme, ABCDEF FAEBDC CFDABE, etc., generates the repetition of the end-word of the previous stanza in the beginning of the first line of the following stanza. As it is shown in the article, it is particularly this feature of the sestina that finds resonance with the form of the madrigal. The end of the previous section of a madrigal and the beginning of the following section have a connection established between them, which, as a rule, is achieved by means of repetitions. This concerns the melodic units and the characteristic details of sound, both the harmonic and the melodic varieties. Along with repetitions, a single harmonic construction is used, which begins at the conclusion of one section of a madrigal and concludes at the beginning of the following section.

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Leszczyńska, Agnieszka. "Emanuel Wurstisen, his Tablature and Links to Poland. Lute Music with Medicine in the Background". Muzyka 65, n. 2 (15 luglio 2020): 3–24. http://dx.doi.org/10.36744/m.445.

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The lute tablature CH-Bu F IX 70 was compiled by Emanuel Wurstisen (1572–1616), a Basel University student, who became a physician in Biel toward the end of his life. His biography has been supplemented here so as to include new information concerning, among other things, his collaboration with German surgeon Wilhelm Fabricius Hildanus during the first decade of the seventeenth century. When commencing his tablature, in 1591, Wurstisen planned to divide it into eight books, each devoted to works of a similar genre. The manuscript comprises nearly five hundred works, mostly anonymous, while among those of known attribution, compositions by Orlando di Lasso take pride of place. Composers mentioned by name include Amandus Polanus a Polansdorf, a professor of theology at Basel University, who wrote his Was Gott will most likely after the death of his wife, in 1605, which thus becomes the hypothetical terminus post quem for the completion of the tablature. There are many Polish elements in the manuscript. Piotr Poźniak long since identified the works signed with the initials C.S. as written by Kasper Sielicki, and noted that the two works by Wojciech Długoraj, as well as the Fantasia by Diomedes Cato, differ from the versions published by J. B. Besard (1603). Hence they may have reached Wurstisen not through printed editions, but in some other way. The author studies how these and other pieces from the Polish repertoire (including Polish dances) could have found their way to Basel. Among those who could have played some part in this ‘import’ of music, she points, first and foremost, to students and residents who came to Basel from Poland, such as Marcin Chmielewski, a professor of Basel University, the medical student Orestes Cato, brother of Diomedes, and the poet Daniel Naborowski, who frequently returned to Switzerland. The attributions of works from CH-Bu F IX 70 are complemented by the identification of the composer of works signed in the tablature with the initials F.D.D (F.D.D.D.) as Fridericus de Drusina Dantiscanus, a lutenist from Royal Prussia, son of Benedict de Drusina. The pieces by this composer found in Wurstisen’s manuscript (Exercitium and a pair of dances, Passomezo and Saltarello) are his only known works.

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Powers, Katherine. "Freedman Richard, The Chansons of Orlando di Lasso and Their Protestant Listeners: Music, Piety, and Print in Sixteenth-Century France (Eastman Studies in Music, 15.) Rochester: University of Rochester Press, 2001. xxiv + 259 pp. $75. ISBN: 1-58046-075-5." Renaissance Quarterly 55, n. 3 (2002): 1089–90. http://dx.doi.org/10.2307/1261589.

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"Orlando di Lasso: a guide to research". Choice Reviews Online 28, n. 09 (1 maggio 1991): 28–4849. http://dx.doi.org/10.5860/choice.28-4849.

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"The chansons of Orlando di Lasso and their Protestant listeners: music, piety, and print in sixteenth-century France". Choice Reviews Online 39, n. 02 (1 ottobre 2001): 39–0841. http://dx.doi.org/10.5860/choice.39-0841.

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Barros, Cassiano de Almeida. "função da análise na Musica Poetica de J. Burmeister". Revista Música Hodie 20 (14 novembre 2021). http://dx.doi.org/10.5216/mh.v20.63270.

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Abstract (sommario):

No último capítulo do tratado intitulado Musica Poetica (1606) de Joachim Burmeister, o autor formula a análise musical de um moteto de Orlando di Lasso, com o objetivo de ensinar a compositores iniciantes as possibilidades de estudo do repertório vigente, colocando em evidência os fundamentos do processo criativo musical para torná-los acessíveis para imitação. Essa análise é considerada pela musicologia moderna como uma das primeiras iniciativas do gênero, conforme afirmam Rivera (1993), Palisca (2001), Dunsby e Whittall (1988), por exemplo; e há consenso quanto a seu valor histórico e pedagógico. No entanto, seu valor técnico, ou seja, seu reconhecimento como ilustração das formas de acesso ao repertório antigo é controverso, uma vez que apresenta respostas para perguntas que podem não ter sentido para os analistas e críticos de hoje. De fato, ela foi concebida para atender a demandas de formação musical próprias do início do século XVII e respondem a questões emergentes desse contexto. Considerando que o distanciamento histórico entre nosso tempo presente e seu passado de origem é também um distanciamento cultural, reconheço que o estudo dessa análise em seus próprios termos nos possibilita recuperar conceitos, ideias, técnicas, processos, procedimentos e modos de escuta e reflexão ocultos por esse distanciamento, superando anacronismos e contribuindo para a renovação de sua compreensão hoje.

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