This article closely examines the charges brought by Artusi in his polemic treatises (1600 and 1603) against Monteverdi and other proponents of modern music (musica moderna). It makes clear that the representation of Artusi as conservator if not retrograde is misleading image. The main incentive reason of the controversy is Artusi’s intention toward verity (verità), his conviction that music practices of all kinds including seconda pratica must have stringent mathematical argument. This article expounds and argues a hypothesis that publishing of the treatises written by Artusi was very important for the musical rivalry at the Mantuan court, in particular for some kind competition of the madrigals on the lyrics of Mirtillo’s monologue Cruda Amarilli from the pastoral tragicomedy Il pastor fido by G. B. Guarini.
Abstract