In the Istitutioni harmoniche, Zarlino describes a compositional process in which a countermelody that is introduced against a principal soggetto can itself become a soggetto for the next phrase, and the process can be repeated in subsequent phrases. This study shows how comporre di fantasia functions in passages from Martini, Févin, Isaac, and Josquin. The technique can also inform our understanding of canon composition, which is illustrated with two examples by Pierre de la Rue. For the study of canons at different time intervals, I also invoke the neglected theories of Robert Morris, Robert Gauldin, and Immanuel Ott. Comporre di fantasia is a structural category that provides insight into compositional process in Renaissance polyphony.

中文翻译：

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扎里诺的《幻想曲与佳能》

在《协奏曲》中，扎里诺描述了一种作曲过程，其中针对主要 soggetto 引入的复调本身可以成为下一个乐句的 soggetto，并且该过程可以在后续乐句中重复。这项研究展示了幻想曲的合奏如何在马蒂尼、费文、艾萨克和若斯坎的段落中发挥作用。该技术还可以帮助我们理解经典的构成，皮埃尔·德拉鲁（Pierre de la Rue）用两个例子对此进行了说明。为了研究不同时间间隔的经典，我还引用了罗伯特·莫里斯、罗伯特·高尔丁和伊曼纽尔·奥特被忽视的理论。Comporre di fantasia 是一个结构类别，可让您深入了解文艺复兴时期复调音乐的作曲过程。