Francisco de Salinas ( Spanish: Francisco de Salinas ) ( March 1, 1513 , Burgos - January 13, 1590 , Salamanca ) is a Spanish music theorist and organist .
| Francisco de Salinas | |
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| Francisco de salinas | |
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| Date of Birth | March 1, 1513 |
| Place of Birth | |
| Date of death | January 13, 1590 (76 years) |
| Place of death | |
| A country | |
| Scientific field | Music theory |
| Place of work | |
| Alma mater | |
Content
Biography sketch
Lost his eyesight at 10 years of age. From the wealthy family of the imperial treasurer. He studied classical languages, philosophy and rhetoric at the University of Salamanca . Around 1537, he entered the service of the Archbishop of Santiago de Compostela Pedro Sarmiento (Pedro Gómez Sarmiento de Villandrando; in 1538 he was elected cardinal ). Accompanying him in Italy, he studied ancient Greek and Roman Roman treatises on music through manuscripts there. In 1553–58, he served as an organist at the court of the viceroy in Naples . From 1559 he lived in Spain, worked in the cathedrals of Siguenza and Leon organist, from 1567 also taught music and theoretical disciplines at the University of Salamanca.
The author of the treatise "Seven books on music" (De musica libri septem), published in Salamanca in 1577 [1] . Books 2-4 are devoted to everything related to the pitch of the sound — spacing , childbirth of melos , division of a monochord , frets , etc. In the interval, he recognized both terts and sextas as consonances, interpreting them as simple numerical relations in a pure structure [2] . The Chromatic Tetrachord of the Greeks proposed to fill in all with semitones , and the enarmonic - with microintervals (thus, he established an understanding of these interval genera in the modern sense).
The doctrine of rhythm and meter
The main sources of the (ancient) metrrhythmic theory of Salinas, developed in 5, 6, 7 books of the treatise, were Aristide Quintillian , St. Augustine (“On Music”), Terencian Moorre and Mari Victorin (“Grammar”).
Making a distinction between rhythm and meter, Salinas says that the meter refers to rhythm, like the way to a particular tune (VI.1). The verse, according to him, refers to meter and rhythm as much as the kind of melos and harmony relate to chrome and diaton (VII.1). The meter always contains a specified number of feet, while the rhythm combines an indefinite number of them (and the rhythm and the meter are presented as combinations of long and short durations). Salinas illustrates various meters with examples from folk songs (more than 50), one of which is already of great value.
In an attempt to extrapolate the antique metric to the poetry of his time, Salinas inevitably replaces the quantitative interpretation of the foot (alternation of long and short syllables), natural for ancient verse, qualitative (alternation of stressed and unstressed syllables) inherent in modern European syllabic-tonic verse.
In the methodology of music science, in contrast to Boethius and the Pythagoreans (who asserted the primacy of reason over feeling), he urged to verify mathematical conclusions (for example, what should be considered consonance, and what is dissonance) with hearing and musical experience.
Reception
The extensive treatise on the music of Salinas has not been reprinted in our time (neither as a facsimile, nor as a critical modern edition). Translated only into Spanish. The full text of the treatise was published online, as part of the project Thesaurus musicarum Latinarum : Liber I , Liber II , Liber III , Liber IV , Liber V , Liber VI , Liber VII .
Ode to Salinas was dedicated to Luis de Leon .
Notes
- ↑ The full title of the treatise: “Seven books about music, in which the true teachings about it are developed and shown both in terms of harmony and rhythm, judged by feeling and reason” - “Francisci Salinae Burgensis Abbatis Sancti Pancratii de Rocca Scalegna in regno Neapolitano, et al. Academica Salamentensi Musicae Professor, de Musica libre Septem
- ↑ This discovery was made by Salinas independently of Zarlino and Fogliano , who described pure third and sixths before Salinas.
Bibliography
- Francisco Salinas . Siete libros sobre la música. Primera versión castellana por Ismael Fernández de la Cuesta.- Madrid, 1983.- 775 pp. (translation of the treatise on music into Spanish).
- Daniels AM The "De musica libri septem" of Franciscus de Salinas. Diss., University of Southern California (USA), 1962.
- Musical aesthetics of the Western European Middle Ages and Renaissance / compilation of texts and a general introductory article by V.P. Shestakova. Moscow, 1966 (translation of fragments of the treatise into Russian).
- Palisca C. Humanism in Italian Renaissance Musical Thought. New Haven (CT), 1985.
- Francisco de Salinas. Música, teoría y matemática en el Renacimiento. Eds. A. García-Pérez, P. Otaola Gonzales. Salamanca: Universidad de Salamanca, 2014 (collection of articles).