‘S'Amor Non È’: Cesare Tudino and the Birth of the Purely Musical Dialogue

‘S'Amor Non È’: Cesare Tudino and the Birth of the Purely Musical Dialogue

Source :

• Music and Letters [ 0027-4224 ] ; 2003-11.

English descriptors

• Teeft :
  • Accademia filarmonica, Adriano willaert, Alessandro vellutello, Alfred einstein, Alonso, Alternation, Altus, American institute, Amore, Annotazioni sulla, Antiphonal effects, Antonio gardano, Ardendo, Aspro mortale, Baldassarre donato, Barca, Bass voice, Bassus, Bernardino daniello, Cadence, Cannocchiale aristotelico, Cantus, Cantus partbook, Cantus secundus, Carli, Cesare, Cesare tudino, Choir, Chromatic madrigals, Cinque, Cinque voci, City culture, Clausula cantizans formalis, Concordia, Concordia discourse, Conditional sentence, Conditional sentences, Consento, Contrapuntal, Contrari, Contrari venti, Cori, Cori spezzati, Corpus mensurabilis musicae, Cosa, Daniel barbaro, David nutter, Delle, Denis stevens, Dialoghi, Dialogic, Dialogic properties, Dialogo, Dialogue, Dialogue form, Dialogue madrigal, Dialogue texts, Dilettoso, Documenta musicologica, Dolci faci, Double choir, Double repetition, Dunque, Dunque quel sento, Emanuele tesauro, Emphasis mine, Extraneous voice, Final line, First line, First part, First semichorus, First time, Formal construction, Frail barque, Frale, Frale barca, Francesco, Francesco portinaro, Franco colussi, Free counterpoint, Gardano, Genre, Gerolamo carli, Giovanni andrea gesualdo, Giovanni antonio, Giovanni gabrieli, Glio, Governo, Gran torto, Greater length, Harmoniche, High seas, Homophonic, Howard mayer, Ingeniosa elocutione, Istitutioni harmoniche, Italian madrigal, Italian polyphonic dialogue, Lasso, Last line, Libro, Libro primo, Line semichorus, Lodovico novello, Madrigal, Madrigali, Madrigali pastorali, Marco della sciucca, Martha feldman, Melodic lines, Mezza, Mezza state, Mezza state ardendo, Morte, Music letters, Musica, Musica nova, Musica poetica, Musical dialogism, Musical dialogue, Musical dialogue form, Musical dialogues, Musical form, Musical interpretation, Musical kind, Nasco, Numeri harmonici, Nutter, Octave, Ogni, Ogni tormento, Orlando, Other hand, Other semichorus, Otto, Padre delfi, Partbook, Perfect homophony, Perissone cambio, Petrarca, Petrarch, Petrarchan, Poetic form, Polychoral, Polychoral style, Polyphonic, Pordenon, Portinaro, Primo, Primo choro, Primo libro, Pronta maniera, Puoi tanto, Quale, Quando, Quando nascesti, Quel, Quel sento, Rapid exchange, Renaissance dialogue techniques, Roman years, Same clefs, Same text, Same time, Schick, Scrittura drammatica, Second inversion, Second semichorus, Secondo, Secondo choro, Secular music, Semichorus, Sento, Senza, Senza governo, Sette, Single hemistich, Sixteenth century, Sonnet, Spatial alternation, Spatial separation, Spezzati, Tenor partbook, Tercet, Terzo, Terzo libro, Textual, Theodor kroyer, Tremo, Trovo, Tudino, Tutta oratoria, Venice, Venti, Vicentino, Voci, Voglia ardo, Whole ensemble, Whole line, Willaert, Willaertian, Willaertian type, Zarlino.

Abstract

• https://api.istex.fr/document/58FE42D5E432FE3C3053BC9558C0ED1FC53B5A9C/fulltext/pdf

Affiliations:

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