TY - JOUR
AU - Rooley, Anthony
AB - Anthony Rooley ohn Dowland’s last publicatioAn, Pilgrimes from, and rejection by, his younger contempo - rar JSolace (1612), was perhaps the finest of his ies, which he spends much time complaining about four songbooks. In it, he sought to unite the ‘-tra in his address—Peacham and Dowland clearly were ditional’ approach to composing with the ‘new mutually admiring friends of long standing. This music’ emanating from Italy. There is a touch of page is my starting-point for an exploration of the sardonic humour in his only setting of Italianem blem tradition and its profound effect on the poetry in a scherzo, Lasso vita mia: the poem self- Elizabethan and Jacobean eras, and specifically its consciously plays with the traditional ‘gam-u - t’ sylinfluence on Dowland as a composer. lables ( la, so, fa, mi, re etc.), but has the mindless The emblem tradition deserves a brief Cantor, who is not familiar with the teaching of introduction, since not all readers will necessarily be the previous 800  years, crying out ‘Mi fa morire’ on the wrong hexachord pitches. This complicated humour is typical of Dowland’s dilemma—he was at once a conservative and a progressive—which is why, perhaps, his music has universal 
TI - 1612—John Dowland and the emblem tradition
JF - Early Music
DO - 10.1093/em/cat028
DA - 2013-05-01
UR - https://www.deepdyve.com/lp/oxford-university-press/1612-john-dowland-and-the-emblem-tradition-4zEwUnmEdl
SP - 273
EP - 280
VL - 41
IS - 2
DP - DeepDyve
ER -