Works and influence thumb|Bembo's portrait, Historia veneta (1729) As a theoretician of literature, Pietro Bembo instilled to the Tuscan dialect the emotional effect that the Ancient Greek language (A.D. 9th–6th c.) had upon the Greek listener, by using examples from the classically composed poetry of Petrarch and the prose of Giovanni Boccaccio, whilst foregoing the difficulties of translation and composition inherent to the pluri-lingualism of Dante Alighieri’s writing in The Divine Comedy (1321). His works may be considered as an early instance of the Petrarchism movement within the Renaissance literature. In the book Prose della volgar lingua (The Prose of the Vernacular Tongue, 1525) Petrarch is the model of verse composition, and Bembo gives detailed explanations of the communicational functions of rhyme and stress in the sounding of a word and the cadence of a line to achieve a balanced composition. That the specific placement of words within a line in a poem — based upon the writer’s strict attention to the sonic rhythm of vowels and consonant letters — would elicit from the Italian reader and listener the range of human emotions, from grace and sweetness to gravity and grief.Atlas, p. 433. Bembo’s rules of poetical composition in Prose of the Vernacular Tongue were basic to the development of the techniques of musical composition that made the madrigal Italy’s pre-eminent secular music in the 16th century.Haar, Grove online His theories of musical composition were disseminated by the Venetian School, by composers such as Adrian Willaert, whose book Musica nova (New Music, 1568) contains madrigal compositions derived from the linguistic theories of Bembo.
Works and influence thumb|Bembo's portrait, Historia veneta (1729) As a theoretician of literature, Pietro Bembo instilled to the Tuscan dialect the emotional effect that the Ancient Greek language (A.D. 9th–6th c.) had upon the Greek listener, by using examples from the classically composed poetry of Petrarch and the prose of Giovanni Boccaccio, whilst foregoing the difficulties of translation and composition inherent to the pluri-lingualism of Dante Alighieri’s writing in The Divine Comedy (1321). His works may be considered as an early instance of the Petrarchism movement within the Renaissance literature. In the book Prose della volgar lingua (The Prose of the Vernacular Tongue, 1525) Petrarch is the model of verse composition and Bembo gives detailed explanations of the communicational functions of rhyme and stress in the sounding of a word and the cadence of a line to achieve a balanced composition. That the specific placement of words within a line in a poem — based upon the writer’s strict attention to the sonic rhythm of vowels and consonant letters — would elicit from the Italian reader and listener the range of human emotions, from grace and sweetness to gravity and grief.Atlas, p. 433. Bembo’s rules of poetical composition in Prose of the Vernacular Tongue were basic to the development of the techniques of musical composition that made the madrigal Italy’s pre-eminent secular music in the 16th centuryHaar, Grove online His theories of musical composition were disseminated by the Venetian School by composers such as Adrian Willaert, whose book Musica nova (New Music, 1568) contains madrigal compositions derived from the linguistic theories of Bembo.