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Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was an Italian music theorist and composer of the Renaissance. He made a large contribution to the theory of counterpoint as well as to musical tuning.
In counterpoint, the functional independence of voices is the prime concern. The violation of this principle leads to special effects, which are avoided in counterpoint. In organ registers, certain interval combinations and chords are activated by a single key so that playing a melody results in parallel voice leading.
The system of note types used in mensural notation closely corresponds to the modern system. The mensural brevis is nominally the ancestor of the modern double whole note (breve); likewise, the semibrevis corresponds to the whole note (semibreve), the minima to the half note (minim), the semiminima to the quarter note (crotchet), and the fusa to the eighth note (quaver).
From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
Polyphonic or Counterpoint or Contrapuntal: Multiple melodic voices which are to a considerable extent independent from or in imitation with one another. Characteristic texture of the Renaissance music, also prevalent during the Baroque period. [8] Polyphonic textures may contain several PMs. [5]
The early 15th-century composer Leonel Power likewise forbade the motion of "2 acordis perfite of one kynde, as 2 unisouns, 2 5ths, 2 8ths, 2 12ths, 2 15ths", [5] and it is with the transition to Renaissance-style counterpoint that the use of parallel perfect consonances was consistently avoided in practice.
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance and particularly in English music into the eighteenth century.
The recorder family, one of the many consorts of instruments available to Renaissance composers. One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if ...