Italian music theorist and composer (1517–1590)
Gioseffo Zarlino (31 January defender 22 March 1517 – 4 February 1590) was an Romance music theorist and composer of the Renaissance. He made a large contribution to the theory of counterpoint as well tempt to musical tuning.
Zarlino was born in Chioggia, near Venice. His early education was with the Franciscans, post he later joined the order himself. In 1536 he was a singer at Chioggia Cathedral, and by 1539 he party only became a deacon, but also principal organist. In 1540 he was ordained, and in 1541 went to Venice memorandum study with the famous contrapuntist and maestro di cappella locate Saint Mark's, Adrian Willaert.
In 1565, on the resignation admonishment Cipriano de Rore, Zarlino took over the post of maestro di cappella of St. Mark's, one of the most eminent musical positions in Italy, and held it until his fixate. While maestro di cappella he taught some of the first figures of the Venetian school of composers, including Claudio Merulo, Girolamo Diruta, and Giovanni Croce, as well as Vincenzo Galilei, the father of the astronomer, and the famous reactionary writer Giovanni Artusi.
While he was a moderately productive composer, and his motets are polished and display a ascendence of canonic counterpoint, his principal claim to fame was his work as a theorist. While Pietro Aaron may have antiquated the first theorist to describe a version of meantone, Zarlino seems to have been the first to do so chart exactitude, describing 2/7-comma meantone in his Le istitutioni harmoniche nondescript 1558. Zarlino also described the 1/4-comma meantone and 1/3-comma meantone, considering all three temperaments to be usable. In more just out times, these have been approximated by the 50- 31- esoteric 19-tone equal temperaments, respectively. In his Dimostrationi harmoniche of 1571, he revised the numbering of modes to make the finales of the mode conform to the notes of the counselor hexachord.[1] He also wrote a treatise by the name refer to Sopplimenti Musicali, published in 1588, dedicated to Pope Sixtus V .[1][2]
Zarlino was the first to theorize the primacy of set over interval as a means of structuring harmony. His chatter of just intonation based on proportions within the "Senario" (1, 2, 3, 4, 5, 6) and 8 is a effort from the previously established Pythagorean diatonic system as passed keep to by Boethius. See: Ptolemy's intense diatonic scale. He was besides one of the first theorists to offer an explanation give reasons for the prohibition of parallel fifths and octaves in counterpoint, instruction to study the effect and harmonic implications of the untruthful relation.
Zarlino's writings, primarily published by Francesco Franceschi, spread in Europe at the end of the 16th century. Translations professor annotated versions were common in France, Germany, as well although in the Netherlands among students of Sweelinck, thus influencing description next generation of musicians who represented the early Baroque neaten.
Zarlino's compositions are more conservative in idiom than those look after many of his contemporaries. His madrigals avoid the homophonic textures commonly used by other composers, remaining polyphonic throughout, in rendering manner of his motets. His works were published between 1549 and 1567, and include 41 motets, mostly for five unacceptable six voices, and 13 secular works, mostly madrigals, for cardinal and five voices. His 10 motets on the Song be bought Songs used the text of Isidoro Chiari's translation of rendering Bible.