By Timothy R. McKinney
Within the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is located, for the 1st time, a scientific technique of explaining music's expressive energy dependent upon the categorical melodic and harmonic durations from which it's developed. yet this 'theory of period affect' originates now not with those theorists, yet with their instructor, influential Venetian composer Adrian Willaert (1490-1562). simply because Willaert left no theoretical writings of his personal, Timothy McKinney makes use of Willaert's tune to reconstruct his leading edge theories referring to how song may speak extramusical rules. For Willaert, the appellations 'major' and 'minor' not signified basically the bigger and smaller of a couple of like-numbered durations; fairly, they grew to become different types of sonic personality, the individuals of that are comparable by means of a shared sounding estate of 'majorness' or 'minorness' that may be manipulated for expressive reasons. This ebook engages with the madrigals of Willaert's landmark track nova assortment and demonstrates that they articulate a idea of musical impact extra complicated and forward-looking than famous at the moment. The ebook additionally lines the origins of 1 of the main common musical institutions in Western tradition: the suggestion that significant periods, chords and scales are appropriate for the expression of chuffed affections, and minor for unhappy ones. McKinney concludes through discussing the impact of Willaert's idea at the madrigals of composers resembling Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the idea of period impact from the Renaissance view dependent upon person periods measured from the bass, to the Baroque view established upon invertible triadic entities.
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Extra resources for Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino
Although the terms “major” and “minor,” or their equivalents, were applied to certain intervals,37 these terms were understood more quantitatively than qualitatively, as typified in this express what the words say” (uti ita proprie cantum proponat, ut quod verba sonant, cantus exprimere videatur) in Chapter 18; Hucbald, Guido, and John on Music, p. 137. D. dissertation: University of Minnesota, 1989). Other representative samples from a large body of literature that touches upon this topic include Claude V.
Mathiesen (eds), Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century (Lincoln and London: University of Nebraska Press, 2002), p. 67. See also Benito V. Rivera, “The Two-Voice Framework and Its Harmonization in Arcadelt’s First Book of Madrigals,” Music Analysis 6 (1987), p. 82; Contexts 23 affective practices in the Musica nova madrigals show him to be very cognizant of harmonic quality, even experimenting with how it might be prolonged through contrapuntal motion.
American Insitute of Musicology, 1968), p. 142; trans. Irwin Young as The Practica musicae of Franchinus Gafurius (Madison, Wisconsin: University of Wisconsin Press, 1969), p. 152. 66 Bernhard Meier, “‘Major’ and ‘Minor’ Chords in Sixteenth-Century Music,” in The Modes of Classical Vocal Polyphony, pp. 406–21. 8 (pp. 4 (pp. 12 (pp. 258–62). 67 Another possible reason for the association of major quality with concepts of strength or glory would be the natural propensity of the valveless heraldic and military brass instruments of the time to outline the major “chord of nature” when accessing their most easily produced pitches.