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Thalia derelicta in ipso florentis campi ubere residebat. Sola vero, quod vector eius cycnus impatiens oneris atque subvolandi alumna stagna petierat. Terpsichore Venerio sociatur auro, Calliope orbem complexa Cyllenium, Clio citimum circulum, hoc est in Luna collocavit hospitium, quae quidem gravis pulsus modis raucioribus personabat.
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Melpomene mediam, ubi Sol flammanti mundum lumine convenustat. Polymnia Saturnism circulum tenuit, Euterpe Iovialem, Erato ingressa Martium modulatur. Dick (Leipzig, 1925): ‘Superi autem globi orbesque septemplices suavius cuiusdam melodiae harmonicis tinnitibus concinebant ac sono ultra solitum dulciore, quippe Musas adventare praesenserant, quae quidem singillatim circulis quibusque metatis, ubi suae pulsum modulationis agnoverant, constituerunt, nam Uranie stellantis mundi sphaeram extimam concinit, quae acuto raptabatur sonora tinnitu. Professor Claude Palisca, who is preparing a study of musical humanism that will include much material on Gafori, very kindly called the existence of this manuscript copy to my attention.ġ9 De Nuptiis Philologiae et Mercurii, I, 27-29 pp. A colored drawing made after the woodcut under discussion here was included in this manuscript it is reproduced by Unterkirchner, p. 1240.įor information on another manuscript copy of the De Harmonia, one intended for the dedicatee of the printed volume, Jean Grolier, see Franz Unterkirchner, ‘Eine Handschrift aus dem Besitze Jean Groliers in der osterreichischen Nationalbibliothek,’ Libri. xxviii.a.9) see Sartori, Claudio, ‘GafFurius,’ Die Musik in Geschichte und Gegenwart, IV ( Kassel, 1955) Google Scholar, col. A manuscript copy of the De Harmonia dated 1500 is in the Bibl. On this see Clement Miller, A., ‘Gaffurius's Practica Musicae: Origin and Contents,’ Musica Disciplina, 22 ( 1968) Google Scholar, 105-109. Gafori had a trilogy of theoretical works in mind at an early date, and probably wrote versions of all three of his major treatises well before publishing them. Variations on a Pythagorean Theme,' unpub. Gafori as a devout Boethian was enamored of myths about cosmic harmony he expounded Boethius’ doctrine of musica mundana in the first edition of the Theorica Musicae in 1480, expanded upon this treatment in the second edition of that work (1492), and returned to the subject armed with much newly acquired humanistic lore in the De Harmonia Musicorum Instrumentorum Opus, published in 1518 though certainly written some years earlier.Ĥ There is a discussion of the relevant passages, and their sources, in the two editions of the Theorica Musicae in my ‘ Musica Mundana. But the illustration was surely Gafori's idea rather than that of his printer, Le Signerre. The frontispiece has nothing really to do with the contents of the Practica-no more, say, than the Boethian frontispiece of the thirteenth-century Pluteus manuscript has to do with Notre Dame polyphony. 1) used as title page for the first edition of the Practica Musicae has been a great favorite among art historians of iconographic bent Warburg, Panofsky, Seznec, and Wind have all reproduced and commented on this woodcut at some length.