Talk:Vicente Lusitano
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I (Camembert) have rewritten the old contents of this page (mainly using [1] and Grove Concise), because it was pretty hard to understand - I think it may have been a BabelFish translation. This isn't really an area I know a great deal about, and this talk of "genera" rather goes over my head, but it's what other sources talk about, so I'm guessing it's right. I've put the old content below in case it's useful.
LUSITANO, Vicente (b.Olivença-d.Roma, 16th Century)
Although he has been author of some musical workmanships, the name of Vicente Lusitano over all is remembered as theoretician, thanks to célebre polémica that it had in Rome, in 1551, with Nicola Vicentino. Little is known on its life, not even the dates of birth and death. In accordance with some historical sources of XVII and XVIII Centuries, would have been musician of D. Afonso de Lencastre during a short period of time and would have taught in Pádua and Viterbo after having been commanded priest. In 1550 member of the choir of the Papal Chapel became and in 1551 primus published its "Liber epigramatum that vulgo motetta dicuntur" (Rome, 1551). One year later d'herb'et "in the seio of an intitled colecção" prime Il is given to the print the madrigal "fior ch'ignuda All'hor libro delle MUSE" (Venice, 1552). It was during a reception in house of Florentine banker Bernardine Acciaioli who blew up the famous debate with the musician and NicolaVicentino theoretician, in the sequência of the hearing of a musical part. The Portuguese defended that all the music of the time could be explained through género diatónico, while its adversary affirmed that this age one mixes of the géneros diatónico, chromatic and enarmónico, thus showing a vanguardista position, related with the speculations on the old musical theory Greek and its application to the music of its time. Although its opinion more conservative, or perhaps had it, Lusitano was declared winning by a jury of specialists. Its points of view had been developed in the treated "Introdutione facillissima et novissima di sing fermo..." (Rome, 1533). The workmanship had more two editions in Venice (1558 and 1561) and would have been translated in Portuguese, in 1603, by cónego Bernardine da Fonseca. In each one of editions printed, the first part says respect to the basic particularitities of music, including the study of claves, the mutations, the intervals, the notation, etc. In the second part the improvised counterpoint, one technique very appreciated in the 16th Century and developed with great mestria in the choir of the Papal Chapel is explored practical. Some rules to improvise two or more inferior superior parts out to one "cantus firmus" given are illustrated by numerous examples. In the end it has a small quarrel on the question of the géneros diatónico, chromatic and enarmónico.
