This article deals with the question of modes as it is discussed in Gioseffo Zarlino’s Istitutioni harmoniche and Michael Praetorius’s Syntagma musicum. First, Gioseffo Zarlino’s adoption of Heinrich Glarean’s system of twelve modes is presented, along with the changes he introduced. Gioseffo Zarlino’s system is then compared to that of Michael Praetorius.Prispevek obravnava vprašanje modusov, kot se kaže v spisih Istitutioni harmoniche Gioseffa Zarlina in Syntagma musicum Michaela Praetoriusa. Predstavitvi sistema dvanajstih modusov, ki ga je Zarlino prevzel od Heinricha Glareana, in sprememb, ki jih je vanj vpeljal, sledi njegova primerjava s preglednim prikazom modusov, kot ga je v svojem spisu predstavil Praetorius
Modes in the Renaissance era were vital to understand the inner workings of a piece. Modal theory im...
Michael Praetorius’ Terpsichore. Musarum Aoniarum Quinta (1612) präsentiert sich als Sammlung von Tä...
ABSTRACT: A random sample of 98 Gregorian chants was used to assemble “mode profiles”—pitch-class d...
Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seven...
The paper is concerned with Gioseffo Zarlino’s attitude towards la-modes in comparison with actual c...
Michael Praetorius describes tempo modification in a variety of contexts. Performers changed the spe...
The article analyzes the cadential treatment of Giovanni Pierluigi da Palestrina's Delle Madrigali S...
Abstract: In the 5th century A.D. Boethius translates the Greek terms tonos and tropos into the Lati...
Michael Praetorius (1571–1621) achieved distinction as a practicing musician: as organist and Kapell...
Based on a corpus of organ sermons, this paper analyses the theological reception of the Syntagma mu...
Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeen...
The well-known title page used by Michael Praetorius for several of his publications provides a star...
This contribution examines the ConcertGesänge in Michael Praetorius’ Polyhymnia caduceatrix (1619) i...
Dieser Beitrag untersucht die ConcertGesänge in Michael Praetorius’ Polyhymnia caduceatrix (1619) im...
This article presents Praetorius’s wide-ranging opinions on performance practice, including what dis...
Modes in the Renaissance era were vital to understand the inner workings of a piece. Modal theory im...
Michael Praetorius’ Terpsichore. Musarum Aoniarum Quinta (1612) präsentiert sich als Sammlung von Tä...
ABSTRACT: A random sample of 98 Gregorian chants was used to assemble “mode profiles”—pitch-class d...
Michael Praetorius was one of the most prolific and innovative Lutheran composers of the early seven...
The paper is concerned with Gioseffo Zarlino’s attitude towards la-modes in comparison with actual c...
Michael Praetorius describes tempo modification in a variety of contexts. Performers changed the spe...
The article analyzes the cadential treatment of Giovanni Pierluigi da Palestrina's Delle Madrigali S...
Abstract: In the 5th century A.D. Boethius translates the Greek terms tonos and tropos into the Lati...
Michael Praetorius (1571–1621) achieved distinction as a practicing musician: as organist and Kapell...
Based on a corpus of organ sermons, this paper analyses the theological reception of the Syntagma mu...
Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeen...
The well-known title page used by Michael Praetorius for several of his publications provides a star...
This contribution examines the ConcertGesänge in Michael Praetorius’ Polyhymnia caduceatrix (1619) i...
Dieser Beitrag untersucht die ConcertGesänge in Michael Praetorius’ Polyhymnia caduceatrix (1619) im...
This article presents Praetorius’s wide-ranging opinions on performance practice, including what dis...
Modes in the Renaissance era were vital to understand the inner workings of a piece. Modal theory im...
Michael Praetorius’ Terpsichore. Musarum Aoniarum Quinta (1612) präsentiert sich als Sammlung von Tä...
ABSTRACT: A random sample of 98 Gregorian chants was used to assemble “mode profiles”—pitch-class d...