Giovanni Maria Artusi (c. 1540 – 18 August 1613) was an Italian music theorist, composer, and writer.
Giovanni Artusi
Artusi fiercely condemned the new musical innovations that defined the early Baroque style developing around 1600 in his treatise L'Artusi, overo Delle imperfettioni della moderna musica [Artusi, or On the Imperfections of Modern Music]. He was also a scholar and cleric at the Congregation Santissimo Salvatore, Bologna,[1] and remained throughout his life devoted to his teacher Gioseffo Zarlino (the principal music theorist of the late sixteenth century). When Vincenzo Galilei first attacked Zarlino in the Dialogo of 1581, it provoked Artusi to defend his teacher and the style he represented.
In 1600 and 1603, Artusi attacked the "crudities" and "license" shown in the works of a composer he initially refused to name (it was Claudio Monteverdi). Monteverdi replied in the introduction to his fifth book of madrigals (1605) with his discussion of the division of musical practice into two streams: what he called prima pratica, and seconda pratica: prima pratica being the previous polyphonic ideal of the sixteenth century, with flowing counterpoint, prepared dissonance, and equality of voices; and seconda pratica being the new style of monody and accompanied recitative, which emphasized soprano and bass voices, and in addition showed the beginnings of conscious functional tonality.
Artusi's major contribution to the literature of music theory was his book on dissonance in counterpoint, L'Arte del contraponto (1598)[2] He recognized that there could be more dissonance than consonance in a developed piece of counterpoint, and he attempted to enumerate the reasons and uses for the dissonances, for example as settings of words expressing sorrow, pain, longing, terror. Ironically, the usage of Monteverdi in the seconda pratica largely agreed with his book, at least conceptually; the differences between Monteverdi's music and Artusi's theory were in the importance of the different voices, and the exact intervals used in shaping the melodic line.
Artusi's compositions were few, and in a conservative style: one book of canzonette for four voices (published in Venice in 1598) and Cantate Domino for eight voices (1599).[1]
In 1993, Suzanne Cusick presented a feminist analysis of the Artusi controversy in which she asserted that Artusi's attack on Monteverdi represented "an attempt to discredit modern music as unnatural, feminine and feminizing of both its practitioners and its listeners". Claudio Monteverdi's and his brother's replies, she claims, "can be understood as a defense of the composer's masculinity that acknowledges and reaffirms the femininity of the music itself".[3] Other academics, such as Ilias Chrissochoidis and Charles S. Brauner, have challenged Cusick's analysis as selective and incomplete: "[A]nyone can project anything to the past for the purpose of legitimising one's own set of values or even fixations".[4]
Artusi, Giovann Maria (1598). L'Arte del contraponto (in Italian). Venice – via Munich Digitization Center.
Chrissochoidis, Ilias (January 2004). "The 'Artusi–Monteverdi' Controversy: Background, Content, and Modern Interpretations". British Postgraduate Musicology. 6. Retrieved 19 June 2022.
Artusi, Giovanni Maria entry (in Italian) by Gastone Rossi-Doria in the Enciclopedia italiana (1929)
Further readingedit
Giovanni Artusi, "L'Artusi, ovvero Delle imperfezioni della moderna musica", tr. Oliver Strunk, in Source Readings in Music History. New York, W. W. Norton, 1950.
Tim Carter: "Artusi, Monteverdi, and the Poetics of Modern Music", Musical Humanism and its Legacy. Essays in honor of Claude V. Palisca, ed. Nancy Kovaleff Baker and Barbara Russano Hanning (Stuyvesant, New York: Pendragon Press, 1992), 171–194.
giovanni, artusi, giovanni, maria, artusi, 1540, august, 1613, italian, music, theorist, composer, writer, artusi, fiercely, condemned, musical, innovations, that, defined, early, baroque, style, developing, around, 1600, treatise, artusi, overo, delle, imperf. Giovanni Maria Artusi c 1540 18 August 1613 was an Italian music theorist composer and writer Giovanni Artusi Artusi fiercely condemned the new musical innovations that defined the early Baroque style developing around 1600 in his treatise L Artusi overo Delle imperfettioni della moderna musica Artusi or On the Imperfections of Modern Music He was also a scholar and cleric at the Congregation Santissimo Salvatore Bologna 1 and remained throughout his life devoted to his teacher Gioseffo Zarlino the principal music theorist of the late sixteenth century When Vincenzo Galilei first attacked Zarlino in the Dialogo of 1581 it provoked Artusi to defend his teacher and the style he represented In 1600 and 1603 Artusi attacked the crudities and license shown in the works of a composer he initially refused to name it was Claudio Monteverdi Monteverdi replied in the introduction to his fifth book of madrigals 1605 with his discussion of the division of musical practice into two streams what he called prima pratica and seconda pratica prima pratica being the previous polyphonic ideal of the sixteenth century with flowing counterpoint prepared dissonance and equality of voices and seconda pratica being the new style of monody and accompanied recitative which emphasized soprano and bass voices and in addition showed the beginnings of conscious functional tonality Artusi s major contribution to the literature of music theory was his book on dissonance in counterpoint L Arte del contraponto 1598 2 He recognized that there could be more dissonance than consonance in a developed piece of counterpoint and he attempted to enumerate the reasons and uses for the dissonances for example as settings of words expressing sorrow pain longing terror Ironically the usage of Monteverdi in the seconda pratica largely agreed with his book at least conceptually the differences between Monteverdi s music and Artusi s theory were in the importance of the different voices and the exact intervals used in shaping the melodic line Artusi s compositions were few and in a conservative style one book of canzonette for four voices published in Venice in 1598 and Cantate Domino for eight voices 1599 1 In 1993 Suzanne Cusick presented a feminist analysis of the Artusi controversy in which she asserted that Artusi s attack on Monteverdi represented an attempt to discredit modern music as unnatural feminine and feminizing of both its practitioners and its listeners Claudio Monteverdi s and his brother s replies she claims can be understood as a defense of the composer s masculinity that acknowledges and reaffirms the femininity of the music itself 3 Other academics such as Ilias Chrissochoidis and Charles S Brauner have challenged Cusick s analysis as selective and incomplete A nyone can project anything to the past for the purpose of legitimising one s own set of values or even fixations 4 References editNotes a b Rossi Doria 1929 Artusi 1598 Cusick 1993 Chrissochoidis 2004 Sources Artusi Giovann Maria 1598 L Arte del contraponto in Italian Venice via Munich Digitization Center Chrissochoidis Ilias January 2004 The Artusi Monteverdi Controversy Background Content and Modern Interpretations British Postgraduate Musicology 6 Retrieved 19 June 2022 Cusick Suzanne G Spring 1993 Gendering Modern Music Thoughts on the Monteverdi Artusi Controversy Journal of the American Musicological Society 46 1 1 25 doi 10 1525 jams 1993 46 1 03a00010 JSTOR 831804 subscription required Artusi Giovanni Maria entry in Italian by Gastone Rossi Doria in the Enciclopedia italiana 1929 Further reading editGiovanni Artusi L Artusi ovvero Delle imperfezioni della moderna musica tr Oliver Strunk in Source Readings in Music History New York W W Norton 1950 Manfred Bukofzer Music in the Baroque Era New York W W Norton 1947 ISBN 0 393 09745 5 Tim Carter Artusi Monteverdi and the Poetics of Modern Music Musical Humanism and its Legacy Essays in honor of Claude V Palisca ed Nancy Kovaleff Baker and Barbara Russano Hanning Stuyvesant New York Pendragon Press 1992 171 194 Palisca Claude V n d Artusi Giovanni Maria Oxford Music Online accessed 12 July 2017 subscription required Gustave Reese Music in the Renaissance New York W W Norton 1954 ISBN 0 393 09530 4External links edit nbsp Media related to Giovanni Artusi at Wikimedia Commons musicologie org Full record works sources locations bibliography in French Portals nbsp Biography nbsp Classical music Retrieved from https en wikipedia org w index php title Giovanni Artusi amp oldid 1220908275, wikipedia, wiki, book, books, library,
