THE PROGRESS OF A METHOD
Classicism, by definition, is teachable. We can be sure that every one of the technical observations just made about Willaert’s music corresponds to the composer’s conscious practical intentions because the techniques involved were abstracted and explicitly transmitted as methods by Zarlino. A fairly hilarious instance of this abstraction and transmission is a bicinium that Zarlino devised to demonstrate “how to avoid cadences” (Il modo di fugir le cadenze). Its object is to give as many examples as possible of Willaert’s technique of making the voices “give the impression of leading to a perfect cadence, but turn instead in a different direction”13 (Ex. 15-6).
- Citation (MLA):
- Richard Taruskin. "Chapter 15 A Perfected Art." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 15 A Perfected Art. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 15 A Perfected Art." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015008.xml