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. 6 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 6 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 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017006.xml