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“Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof”
Actually Glareanus was the first to come up with the major and minor modes (although he called them “Ionian” and “Aeolian”). Zarlino, of course, being by far the biggest name in music theory during the Renaissance, gave a lot of weight to them by including them in his treatise. It was still a six-mode system at that point, though (12 if you count the plagal modes)—I think it was not until partway into the Baroque that people actually started exclusively thinking in terms of the major and minor.
Oh, get over it.
Dude, the fifteenth century was one of the most important centuries in all of music history, because the early 1400s featured the British Invasion. No, not that one, I’m talking about when Henry V invaded France during the Hundred Years’ War. A side effect of that was that the English nobles who set up in France brought their court musicians along with them (most notably, John Dunstable), and along with them, the practice of “faburden”, which quickly inspired the French “fauxbourdon”, in which thirds and sixths were used as consonant harmonies. For most of the Middle Ages, everything other than the perfect intervals—fifths, fourths, and octaves—was considered dissonant. The introduction of consonant thirds and sixths paved the way for the development of tertian harmony, and eventually, the tonal system.
Anyway, this led to the development of a style in the Burgundian lands, which became known as the Franco-Flemish School. Guillaume Du Fay was one of the first major composers in this style, but later on, around the turn of the century, there was Josquin des Prez, the most famous composer of his day and one of the most well-known of the entire Renaissance. The Franco-Flemish composers developed the style which eventually became known as Renaissance counterpoint. Of course, it spread, and once it got to Italy, then all of a sudden this is where Italy starts to get huge in the 16th century (think the madrigal composers, and then Palestrina). The thing that really cements Italy as Europe’s musical center, though, is the development of opera around the turn of the 17th century, although once you get there you’re now in the early Baroque.
I see what you did there. ;-)
You don’t really get to choose these things.
Those two have a whole Liszt of questions, don’t they?
But it’s not canon!
No kidding. Hey kid, everybody else here just wants to watch the damn show, not listen to your babbling!
Beethoven Six Eccosaises, WoO 83:
A relatively obscure composition by Beethoven that Schulz seems to have liked, since this isn’t the first time he’s used it.