By Gioseffo Zarlino
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Extra resources for On the Modes: Part Four of Le Istitutioni Harmoniche, 1558 (Music Theory Translation Series) (Pt. 4)
39. Ed. of 1573: Sannazaro did the same in Arcadia in that part in the beginning where Ergasto, talking with the shepherd Selvaggio, says: Menando un giorno gli agni appresso un flume, Vidi un be1 lume in mezo di quell'onde, Che con due bionde treccie allor mi strinse, Et mi dipinse un volto in mezo'l cuore. [Sannazaro Arcadia I . " Most editions have pmso for Zarlino's appresso, trace for his treccie, e for his et, mezzo u l for his mezo'l, and core for his cuore. 40, Horace Odes 3. 30. " The edition by C.
They called them "Dorian," "Phrygian," or by other names, according to the name of the people who either invented a burmonk or who used to enjoy one species of bumontu more than another. Thus the Dorian bamonia was named after the Dorians, who were its inventors, the Phrygian bumontu after the people who used to live in Phrygia, the Lydian after those of Lydia, and so forth. Since each mode had something intrinsic in its tune, and was accompanied by different rhythms, they called some modes grave and severe, some bacchanal and wild, some honest and religious, and others lascivious and bellicose.
Thus if they were in conformity in one or two things, they varied in the rest. We see the same thing nowadays in different nations, inasmuch as the Italians use the same pattern of line, that is, [the same number of) verse feet or syllables, as the French and Spanish, namely, that of eleven syllables, but when one hears them sing, one perceives different harmonies and progressions. An Italian sings differently from a Frenchman, and a Spaniard sings in a manner different from that of a German, and of course different from that of the barbarian nations of infidels, which is obvious.