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 established upon the categorical melodic and harmonic periods from which it really is 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 song to reconstruct his cutting edge theories bearing on how song may well speak extramusical rules. For Willaert, the appellations 'major' and 'minor' now not signified simply the bigger and smaller of a couple of like-numbered durations; really, they turned different types of sonic personality, the individuals of that are similar via a shared sounding estate of 'majorness' or 'minorness' that may be manipulated for expressive reasons. This e-book engages with the madrigals of Willaert's landmark track nova assortment and demonstrates that they articulate a concept of musical have an effect on extra complicated and forward-looking than famous presently. The ebook additionally strains the origins of 1 of the main frequent musical institutions in Western tradition: the inspiration that significant periods, chords and scales are appropriate for the expression of chuffed affections, and minor for unhappy ones. McKinney concludes through discussing the effect of Willaert's thought at the madrigals of composers similar to Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the speculation 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 info for Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino
87. 99 Schubert, “Recombinant Melody,” p. 91. ”102 Like the approaches taken by the other scholars just surveyed, my analytical approach to the madrigals colors my view on the Musica nova paradox, which I believe rests on the symbiotic relationship that exists between the characteristics just described and an increase in the weight given to harmonic considerations relative to melodic and contrapuntal ones. 103 This increased importance of harmony is not a mere byproduct of Willaert’s fascination with capturing the declamation, word-sound, and structure of the poetic text, of shifting the soggetto from voice to voice, of recombining melodies, or of weaving existing melodies into the contrapuntal fabric, but an essential catalyst of the Musica nova style and a principal means for reflecting the moods and meaning of the words.
Mathiesen, Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages (Lincoln, Nebraska: Univ. of Nebraska Press, 1999); and Warren Anderson and Thomas J. v. “Ethos” in New Grove Dictionary of Music and Musicians, second ed. (London: Macmillan, 2001). 34 Anicius Manlius Severinus Boethius, De institutione musica (c. 505); modern edition by Gottfried Friedlein (Frankfurt: Minerva, 1966); trans. Calvin Bower as Fundamentals of Music (New Haven and London: Yale University Press, 1989).
Paolo Cecchi, “Il rapporto tra testo letterario e intonazione musicale nei teorici italiani di fine cinquecento,” in Claudio Monteverdi: Studi e prospettive (Firenze, Leo S. Olschki, 1998), pp. 549–604; and Giuseppe Gerbino, “Florentine Petrarchismo and the Early Madrigal: Reflections on the Theory of Origins,” Journal of Medieval and Early Modern Studies 35/3 (2005), pp. 607–28. 76 Palisca, Humanism, p. 363. ” 77 Allan W. Atlas, Renaissance Music: Music in Western Europe, 1400–1600 (New York and London: W.