PARADOX AND CONTRADICTION
Just as it was in the realm of Catholic sacred music, when the generation of Willaert gave way to that of Palestrina, so it was in the realm of the madrigal: native Italian talent gradually took possession of the elite genres. The first of the great Italian-born madrigalists was Luca Marenzio (1553–99), who spent most of his career in Rome, with short forays in other Italian centers and, at the end of his rather short life, at the royal court of Poland. He published nine books of madrigals over a period of nineteen years beginning in 1580; his reputation was so far-reaching by the time of his death that all nine books were reissued together in a collected memorial edition, published in Nuremberg in 1601.
- 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. 27 Mar. 2017. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017009.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 27 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017009.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 27 Mar. 2017, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-017009.xml