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    Ramis de Pareia was a 15th century Spanish theorist and composer who was active in Italy. He lectured publicly on music in Bologna and had private pupils. His important treatise Musica practica challenged the authority of past writers and emphasized empirical methods over traditional theory. It promoted meantone temperament and introduced one of the earliest octave-based solmization systems. Despite opposition from other theorists, Ramis's empiricism influenced later Italian music theory.

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    Ramis

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    Ramis de Pareia was a 15th century Spanish theorist and composer who was active in Italy. He lectured publicly on music in Bologna and had private pupils. His important treatise Musica practica challenged the authority of past writers and emphasized empirical methods over traditional theory. It promoted meantone temperament and introduced one of the earliest octave-based solmization systems. Despite opposition from other theorists, Ramis's empiricism influenced later Italian music theory.

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    Ramis de Pareia was a 15th century Spanish theorist and composer who was active in Italy. He lectured publicly on music in Bologna and had private pupils. His important treatise Musica practica challenged the authority of past writers and emphasized empirical methods over traditional theory. It promoted meantone temperament and introduced one of the earliest octave-based solmization systems. Despite opposition from other theorists, Ramis's empiricism influenced later Italian music theory.

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    92 views3 pages

    Ramis

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    Ramis de Pareia was a 15th century Spanish theorist and composer who was active in Italy. He lectured publicly on music in Bologna and had private pupils. His important treatise Musica practica challenged the authority of past writers and emphasized empirical methods over traditional theory. It promoted meantone temperament and introduced one of the earliest octave-based solmization systems. Despite opposition from other theorists, Ramis's empiricism influenced later Italian music theory.

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    Ramis [Ramus] dePareia, Bartolomeus [Bartolomeo; Ramos de Pareja, Bartolomé] Page 1 of 3

    Ramis [Ramus] de Pareia,


    Bartolomeus [Bartolomeo; Ramos
    de Pareja, Bartolomé]
    (b Baeza, Andalucía, c1440; d ?Rome, after 1490). Spanish theorist and
    composer active in Italy. His life is undocumented; all that is known about him
    comes from his own testimony or that of later writers. His first teacher was one
    Johannes de Monte. He claimed to have lectured at the University of
    Salamanca for a time, though his position (as later in Bologna) may have been
    unofficial. While there he wrote a treatise in Spanish (perhaps the one he
    elsewhere referred to as Introductorium seu Isagogicon) and a mass, both now
    lost. He went to Italy in the 1470s; his extended residence in Bologna is the
    best-recorded period of his life. There he lectured publicly on music (though
    not under the auspices of the university) and had private pupils, including
    Giovanni Spataro. His important Musica practica (ed. J. Wolf, Leipzig, 1901/R;
    ed. C. Terni, Madrid, 1983; Eng trans., MSD, xliv, 1993) was published in
    Bologna in two nearly identical editions dated 12 May 1482 (the surviving copy
    belonged to Spataro and was annotated by Gaffurius) and 5 June 1482
    (R1969, 1983). According to Spataro (1491), Ramis had written a much larger
    treatise ten years before but had withheld it from publication, finally releasing
    about a third of the whole in support of his pursuit of a stipendiary lectureship
    (SpataroC); but this was unsuccessful, probably owing to his denunciation of
    the standard university texts and his distinctly idiosyncratic method. He
    remained in Bologna at least until 1484, when he gave Spataro a holograph
    copy of a small treatise, probably the one in Spanish mentioned above; but he
    left in disgust at the university’s neglect and settled in Rome, where he
    intended to prepare his larger treatise for publication. He was still alive in 1491,
    but Spataro said he had adopted a ‘lascivious life-style, which was the cause
    of his death’, probably no later than 1500. Both his critic Burzio and his pupil
    Spataro described him as short in stature.
    Besides the mass composed in Salamanca, Ramis also referred to a
    Magnificat and a Requiem, probably the same as the ‘missa … supra
    “Requiem eternam”’ mentioned by Spataro; the place and date of composition
    of these is unknown. Ramis stated that he had composed his motet Tu lumen
    tu splendor Patris in Bologna. It is preserved in fragments: Ramis himself
    explained the canonic inscription, while Gaffurius (1520) printed the enigmatic
    tenor and Giovanni del Lago cited a passage from the bass (SpataroC). In
    1482 the Kyrie and Gloria of a mass by Ramis and a canzonetta were sent to
    Ercole d’Este, Duke of Ferrara (see Mischiati). What may be his only complete
    surviving composition, the perpetual canon Mundus et musica et totus
    concentus, is preserved in a chansonnier of Florentine origin (I-Fn B.R.229,
    ed. in MRM, vii, 1983). There is no other reason to believe he lived in
    Florence.
    Ramis’s lack of success with the University of Bologna is easily understood
    from the characteristics of his Musica practica. Although the treatise is
    organized in an ostentatiously scholastic format and is filled with cogent
    citations drawn from numerous authors ancient, medieval and
    contemporaneous, Ramis scorned the authority of classic writers like Boethius
    and Guido of Arezzo and emphasized an empirical method that was utterly at
    odds with the academic norms of his time. He parted company with Boethius
    over Pythagorean intonation, offering a division of the monochord that

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    produced major and minor 3rds in the ratios 5:4 and 6:5 instead of the
    Pythagorean 81:64 and 32:27 (see Just intonation). He stated, and Spataro
    later emphasized, that these were the intervals of actual practice, not those of
    theory (though Gaffurius refused to accept the distinction). It was left for
    Lodovico Fogliano and Zarlino to put the intervals arising from Ramis’s
    monochord division on a sound theoretical and historical basis.
    Ramis had no patience with the tradition of hexachordal solmization attributed
    to Guido. He found that the practice of mutation, especially as extended in
    order to deal with accidental sharps and flats, led to confusion among singers
    and instability of pitch. In its place he proposed the earliest known octave-
    based solmization system, using the syllables psal-li-tur per vo-ces is-tas (‘It is
    sung with these syllables’) beginning only on C; the only mutation necessary is
    tas–psal when a melody ascends above or descends below C. Ramis
    observed that the assonance of final consonants in tur per helped locate the
    semitone E–F and that that in ces is tas characterized the variable semitone
    between A and B or between B and C, but Hothby justly faulted him for using
    the same syllable for B and B . Not even Ramis’s devoted pupil Spataro
    adopted this particular innovation, and indeed Ramis himself reverted to
    traditional solmization for most of his treatise.
    Ramis’s empirical tendencies are further highlighted by his embrace of the
    keyboard as a demonstrative aid. For example, he argued that there was no
    effective difference between the tritone and the diminished 5th, even though
    the intervals function differently both melodically and contrapuntally. His
    discussion of keyboard tuning is an early piece of evidence for Mean-tone
    temperament. Gaffurius (1496) was evidently referring to Ramis and his friend
    Tristão da Silva when he castigated the ‘organists’ who admitted parallel 5ths if
    one of them was diminished. In all these respects Ramis opposed himself to
    most of his predecessors and contemporaries, casting particular scorn on
    Johannes Gallicus and John Hothby as ‘adherents of Guido’ (though
    elsewhere he cited Gallicus with approval). He also took issue with
    contemporaneous theorists in the matter of the relation between perfect and
    imperfect tempus. He upheld the equal length of the breve under either
    tempus, while Tinctoris and Gaffurius argued for the invariability of the minim,
    leading to a perfect breve under being half again as long as a breve under C.
    Ramis also expounded, much more circumstantially than his predecessors, a
    pattern of astrological and medical correspondences with the musical modes
    that may have derived from Arab traditions (see Haar). He expressed his
    negative opinions of other theorists, living or dead, in intemperate language,
    which stimulated vigorous assaults against his Musica practica on the part of
    Hothby and Burzio. He was defended in equally abusive terms by Spataro,
    which led to an ongoing polemic between the latter and Gaffurius. But thanks
    to Spataro’s advocacy, Ramis’s empiricism was transmitted to a new
    generation of Italian theorists represented by Aaron and Lanfranco and
    exerted a conceptual influence on the 16th century that was far greater than
    that of any of his particular ideas.
    BIBLIOGRAPHY
    SpataroC
    J. Hothby: ‘Excitatio quedam musice artis per refutationem’ (MS, I-Fn, after
    1482), ed. in Johannis Octobi Tres tractatuli contra Bartholomeum
    Ramum, CSM, x (1964)
    N. Burzio: Musices opusculum (Bologna, 1487/R; Eng. trans., MSD, xxxvii,
    1983)

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    Ramis [Ramus] dePareia, Bartolomeus [Bartolomeo; Ramos de Pareja, Bartolomé] Page 3 of 3

    G. Spataro: Honesta defensio in Nicolai Burtii parmensis Opusculum


    (Bologna, 1491/R)
    F. Gaffurius: Practica musice (Milan, 1496/R)
    F. Gaffurius: Apologia … adversus Joannem Spatarium et complices musicos
    Bononienses (Turin, 1520/R)
    G. Spataro: Errori di Franchino Gafurio (Bologna, 1521)
    O. Mischiati: ‘Un’inedita testimonianza su Bartolomeo Ramis de Pareia’, FAM,
    xiii (1966), 84–6
    G. Massera: ‘Istanze e reflessioni metodologiche nella scienza musicale alla
    fine del Quattrocento’, Quadrivium, xiv (1973), 159–69
    J. Haar: ‘The Frontispiece of Gafori’s Practica musice (1496)’, Renaissance
    Quarterly, xxvii (1974), 7–22
    M. Lindley: ‘Fifteenth-Century Evidence for Meantone Temperament’, PRMA,
    cii (1975–6), 37–51
    C. Terni: Commentary, Musica practica de Bartolomé Ramos de Pareja, ii
    (Madrid, 1983)
    C.V. Palisca: Humanism in Italian Renaissance Musical Thought (New Haven,
    CT, 1985)
    R. Stevenson: ‘Spanish Musical Impact beyond the Pyrenees (1250–1500)’,
    España en la música de occidente: Salamanca 1985, i, 115–64, esp. 125–
    35
    H. Hüschen: ‘Kritik und Polemik in der Musiktheorie des 15. Jahrhunderts’,
    Festschrift Arno Forchert, ed. G. Allroggen and D. Altenburg (Kassel,
    1986), 41–7
    D. García Fraile: ‘La catédra de música de la Universidad de Salamanca
    durante diecisiete años del siglo XV (1464–1481)’, AnM, xlvi (1991), 57–
    101
    L.E. Fose: The ‘Musica practica’ of Bartolomeo Ramos de Pareia: a Critical
    Translation and Commentary (diss., U. of North Texas, 1992)
    R. Pospelova: ‘Pochemu ne utvyordilas' reforma sol'mizatsii Ramosa de
    Paregi? “Ramos protiv Gvido”’ [Why didn’t Ramis de Pareia’s solmization
    reforms take hold? ‘Ramis versus Guido’], Metodï uzicheniya starinnoy
    muzïki, ed. G. Grigor'eva and T. Dubravskaya (Moscow, 1992), 14–43
    E. Torselli: Musica practica di Bartolomeo de Pareja: nuova edizione,
    traduzione in italiano, studio e commento (diss., U. of Pavia, 1992)
    A.M. Busse Berger: Mensuration and Proportion Signs (Oxford, 1993)
    C.A. Miller: Commentary to Bartolomeo Ramis de Pareia: Musica practica,
    MSD, xliv (1993)
    JEFFREY DEAN

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