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Castiglione was born in Casatico, near Mantua into a family of the minor nobility, connected through his mother Luigia to the ruling Gonzagas of Mantua. [4]In 1494, at the age of sixteen, Castiglione was sent to Milan, then under the rule of Duke Ludovico Sforza, to begin his humanistic studies at the school of the renowned teacher of Greek and editor of Homer Demetrios Chalkokondyles ...
Music achieved new heights of cultural respectability. Castiglione's The Book of the Courtier recommended proficiency at music as a courtly virtue, and Santa Maria di Loreto, the first music conservatory, was built in Naples. Adrian Willaert developed music for double chorus at St. Mark's in Venice.
The Book of the Courtier was one of the most widely distributed books of the 16th century, with editions printed in six languages and in twenty European centers. [4] The 1561 English translation by Thomas Hoby had a great influence on the English upper class's conception of English gentlemen. [5]
1528 — Castiglione's The Book of the Courtier recommends proficiency at music as a courtly virtue. 1537 — Santa Maria di Loreto, the first music conservatory, is opened in Naples. 1543 — Death of Francesco Canova da Milano, famous lutenist, and the first native Italian musician to achieve an international reputation.
Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music.
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
The earliest known practitioners include primarily Greek and some Chinese scholars. A few Indian sages such as Bharata Muni ( Natya Shastra ) are also credited with important treatises. Though much is lost, substantial treatises on ancient Greek music theory survive, including those by Aristoxenus , Nicomachus , Ptolemy and Porphyry .
The prologue of La musica (a figure representing music) is introduced with a ritornello by the strings, repeated often to represent the "power of music" – one of the earliest examples of an operatic leitmotif. [81] Act 1 presents a pastoral idyll, the buoyant mood of which continues into Act 2.