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Franchinus Gaffurius

An essential figure in the annals of music Gaffurius was created a member from the nobility and was accordingly afforded the chance of planing a trip to and employed in such diverse locations as Mantua, Verona, Genoa, Naples and Lodi where he was created. His travels weren’t simply prompted by his train station but also by his status for theoretical and compositional abilities. Evidently he also taken care of good business with close friends like Leonardo da Vinci and music artists like Martini and Weerbeke. Gaffurius had written several theoretical treatises of great historic import. These functions had been his “Theorica Musica,” “Practica musica,” and “De harmonia musicorum instrumentorum opus.” In the telos of the discourses he provided a complete span of research regarding plainsong, mensural music, Ambrosian and Gregorian rlationships, and an historic approach to the introduction of assessed techniques you start with the Greeks. His music and theory show considerations for percentage, Boethian and Pythagorean concepts in melody and harmonies, a penchant toward both Ambrosian design as well as the Gregorian design, and a knowledge of their shared relationships. (One of is own public, “Missa montana,” included just the Gloria, Credo, and Sanctus.) Your body of his compositions could be seen as a their steady strains, keen understanding into counter stage and vertical harmonies. Gaffurius was the initial known theoretician to go over character in tuning. He constructed public, magnificats, mass actions, motets, hymns and madrigals.

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