Abstract
The paper deals with the use of dissonance out of Zarlino's rules (?licenses, dissonances and braveries?) in Correa de Arauxo's music (1583-1654), and the relationship with moral casuistry, suggested by the composer himself. The paper verifies that these dissonancies occur in previous and subsequent music too, but their focusing, attitude, justification and meaning are dissimilar. The most outstanding outcame is that in his Facultad Org?nica (Alcal? de Henares, 1626) Correa declare his intention to extend the language of composition, he uses these licenses consciously, This content downloaded from 157.55.39.135 on Sun, 03 Jul 2016 05:02:11 UTC All use subject to http://about.jstor.org/terms
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