“IL ECCELENTISSIMO ADRIANO” AND HIS CONTEMPORARIES
fig. 15-3 Adrian Willaert, in a woodcut that served as frontispiece to Musica nova (Venice, 1540), a collection of ricercars for organ or instrumental ensemble by Willaert and several of his Italian disciples.
The other main finishing or perfecting touch that distinguished the “classic” polyphony of the mid-sixteenth century higher genres (Mass and motet) was the full rationalization and codification of dissonance-treatment, a polishing or smoothing-out process if ever there was one. Here again, Zarlino was the authoritative theorist, but in matters of high gloss he confessed his particular indebtedness to his revered teacher and mentor, to whom he never referred except as il eccelentissimo Adriano, “the most excellent Adriano.” We know him as Adrian Willaert. Thanks in part to Zarlino, Willaert looms in history as the great mid-century stylist.
- Citation (MLA):
- Richard Taruskin. "Chapter 15 A Perfected Art." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 27 Apr. 2025. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015004.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 27 Apr. 2025, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015004.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 27 Apr. 2025, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-015004.xml
