The Principles of Counterpoint According to Andreas Ornithoparchus in Musice active micrologus (1517): Tradition, Comments and Translation

Opus

Carlos Cascarelli Iafelice¹ 

[1] UNESP - IA;

关键词: Contraponto. História da teoria musical. Música renascentista. Fontes primárias. Análise musical.;   

DOI  :  10.20504/opus2018c2407

来源: DOAJ

【 摘 要 】

This study consists of the commented translation of the “principles of counterpoint” present in the fourth book of Musice active micrologus (1517) by Andreas Ornithoparchus. As a practical music treatise inserted in the context of Lateinschule, this source is a carefully compiled “compendium” from the late 15th century treatises, including documents from the so-called “Cologne School”. Musice active micrologus is inserted between two significant aspects of German music theory in the sixteenth century: the beginning of a pedagogical proposal developed essentially by Wollick, Schanppecher, and Cochlaeus, and the paradigmatic changes promulgated by the “musica poetica” proposed by Dressler. In this way, the examination of the elements of counterpoint throughout the fourth book of this treatise corroborates for an understanding of the contrapuntal structures, mainly cadential, from this context. Comments on the translation comprise schematic, conceptual and analytical summaries that include criticism of the formulation process inferred by Ornithoparchus. Possible traditional theoretical paths used as a basis for the author's arguments are examined through a comparative approach.

【 授权许可】

Unknown