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R 30 "]]]],["element",{"elementId":"122"},["name","Number Voice"],["description"],["elementTextContainer",["elementText",{"elementTextId":"73738"},["text","5"]]]],["element",{"elementId":"123"},["name","Voices name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"73739"},["text","S, A, T, B, 5"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Parmi les membres de celle-ci, se trouvent le philosophe Francesco Patricio (Frane Petrić), réputé notamment pour ses discussions sur la fonction de la musique dans le théatre grec, et Stefanello de Petris, auteur d’un petit receuil d’intermèdes représentés dans les villes de Cres et d’Osor entre 1586 et 1588 (<em>Ghirlande conteste al Clarissimo Signor Sebastain Quirini nel suo felicissimo regimento dell’Isola di Cherso et Ossoro</em>, Padoue, 1588). Il n’est connu que par une mention dans la dédicace d’un recueil de Barges de 1550. Le compositeur hollandais Antonio Barges, alors <em>maestro di capella alla Casa Grande di Venetia</em>, inséra dans son recueil <em>Il primo libro de villotte a quattro voci</em> (1550) <em>alcune poche ma soavi compositioni del Magnifico Caualiero il S. Andrea Patricio da Cherso</em>. Ces quatre madrigaux à quatre voix, composés d’une main assurée, sont vraisemblament ce qui reste d’un ensemble d’oeuvres plus considérable. Le texte de trois madrigaux est dû à Jacopo Sannazaro, et celui de <em>Solea lontan’ in sonno</em> est emprunté au <em>Canzoniere</em> de Pétrarque (CCL). La propension de Patricio à l’homophonie et à un style quelque peu déclamatoire, à de brèves imitations et, parfois, à des figures rythmiques accélérées (<em>note nere</em>), semble indiquer qu’il connaissait les premiers madrigaux d’Adrian Willaert."]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63146"},["text","RENVOIS "]],["elementText",{"elementTextId":"63147"},["text"," CESR_person_00133 "]],["elementText",{"elementTextId":"63148"},["text"," source_RMC08"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63149"},["text","Kos, Koraljka, 'Tonart und Kadenzen in den Madrigalen von A. Patricij und J. Skjavetić', <em>Musica Antiqua Acta Scientifica</em>, Bydgoszcz, 1975, pp. 145-163."]],["elementText",{"elementTextId":"63150"},["text","Kos, Koraljka, 'Madrigali Andrije Patricija i Julija Skjavetića u svom vremenu. Prilog analizi njihova stila', <em>Rad JAZU</em>, 377, 1978, pp. 177-314."]],["elementText",{"elementTextId":"63151"},["text","Plamenac, Dragan, \"Music of the 16th and 17th Centuries in Dalmatia\", <em>Papers Read in International Congress of Musicology</em>, New York: American Musicological Society, c. 1944, pp. 21-51."]],["elementText",{"elementTextId":"63152"},["text","Tuksar, Stanislav, 'The Madrigal. Destiny of a Form in Croatian Musical Culture', <em>Il madrigale oltre il madrigale. Del Barocco al Novecento: destino di una forma e problemi di analisi</em>, Como: A.M.I.S., 1994, pp. 51-58."]],["elementText",{"elementTextId":"63153"},["text","Županović, Lovro, 'La musique croate du XVIe siècle', <em>Musica Antiqua Europae Orientalis</em>, Bydgoszcz, 1969, II, pp. 79-126."]],["elementText",{"elementTextId":"63154"},["text","Županović, Lovro (ed.), <em>Hrvatski skladatelji XVI stoljeća</em>, Zagreb, Udruženje kompozitora Hrvatske, 1970."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"63131"},["text","Patricio, Andrea (…-…). 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