LASSO: THE COSMOPOLITE SUPREME
Real literary music—indeed a virtual literary revolution in music—is looming up on our horizon, but before immersing ourselves in it and becoming absorbed in its consequences, there is a loose end to tie up. “Loose end” hardly does justice to a composer thought by many of his contemporaries to be the most brilliant musician alive, but Orlando di Lasso is a blessedly unclassifiable figure who sits uncomfortably in any slot. It was his unparalleled versatility, the very quality that makes him retrospectively a loose end, that made him such a paragon in his day.
- Citation (MLA):
- Richard Taruskin. "Chapter 17 Commercial and Literary Music." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 17 Commercial and Literary Music. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 17 Commercial and Literary Music." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017006.xml