[104] H. Riemann: Op. cit., I², pp. 305 ff.
[105] J. A. Symonds: ‘Renaissance in Italy,’ Vol. II.
[106] During 1471 to 1488 Josquin was at the papal chapel in Rome. His popularity there is illustrated by the following episode. When a motet was performed in a distinguished social circle it passed almost without notice until the hearers became aware that Josquin was its composer, when all hands promptly proceeded to express their admiration of it.
[107] B. Chioggia (Venice), 1517; d. Venice, 1590; was a pupil of Willaert. In 1565 succeeded Cipriano de Rore as maestro at St Mark’s. Most of his compositions have been lost. His theoretical works were of the greatest importance. Like M. Hauptmann later, he already recognized but one kind of third, the major, and distinguishes the thirds of the major and minor triad not by size but by position, upon which principle he based the entire theory of harmony. Only the introduction of the thorough bass soon after, which reckoned all intervals from the bass up, prevented a development of this rational theory. (Cf. Riemann: Gesch. der Musiktheorie, pp. 369 ff.)
[108] Cf. Chap. X, pp. 284 ff.
[109] The frottola ‘stood midway between the strict and complicated madrigal and the villotta or villanella, which was a mere harmonization of a tune; and in fact as the use of counterpoint increased it disappeared, its better element went into the madrigal, its lower into the villanella.—Grove’s ‘Dictionary.’
‘If we consider the frottole as contrapuntal exercises they appear very meagre. If, however, we consider them as attempts to free the cantabile melody, the declamatory rhythm which is analogous to the verse metre, from the imitative web, and as an attempt to endow musical pieces with architectural symmetry in the construction of its consecutive (not simultaneous) elements they are significant phenomena.’—Ambros.
[110] ‘History of Music,’ III, 303.
[111] The inscription Cromatici, a note nere on the title page of some of di Rore’s madrigals, which has been thought to indicate the chromatic nature of these compositions, refers, as Riemann clearly shows (Handbuch der Musikgeschichte II¹. 411), simply to the color of the notes, croma being a current name for the eighth note since early times.
[112] Musikgeschichte in Beispielen. Excerpt, etc., in Handbuch der Musikgeschichte, II¹. 407 ff.