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 durations from which it really is developed. yet this 'theory of period affect' originates no longer 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 track to reconstruct his leading edge theories referring to how tune may speak extramusical principles. For Willaert, the appellations 'major' and 'minor' not signified only the bigger and smaller of a couple of like-numbered periods; really, they grew to become different types of sonic personality, the contributors of that are comparable through 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 idea of musical impact extra complicated and forward-looking than well-known at the moment. The e-book additionally strains the origins of 1 of the main common musical institutions in Western tradition: the proposal that significant periods, chords and scales are compatible for the expression of satisfied affections, and minor for unhappy ones. McKinney concludes via discussing the impression of Willaert's idea at the madrigals of composers equivalent to 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 durations 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
See also David E. ), The Cambridge History of Western Music Theory (Cambridge: Cambridge Univ. Press, 2002), pp. 307–63. Bernhard Meier notes that, although not yet widespread in written sources, the Latin terms “tertia dura” and “tertia mollis” for the major and minor third, respectively, begin to appear in theoretical treatises written in Germany in the early 16th century; The Modes, p. 406. 41 In their published theories of interval affect stemming from Willaert’s compositional and pedagogical practices, on the other hand, Vicentino and Zarlino ascribe specific expressive characteristics to certain intervals, ascriptions which in their simplest and most familiar guise survive until the present day: major intervals are suitable for happy affections, and minor intervals for sad ones.
Heinrich Besseler, Corpus mensurabilis musicae 1 (Rome: American Institute of Musicology, 1966). 55 Perkins, “Towards a Theory,” p. 324. The first passage begins in m. 21. 3 because it is the more striking of the two, and it is the one to which Besseler refers in his comments (see below). 56 Heinrich Besseler, introduction to Guillaume Dufay, Opera omnia, vol. 5, Compositiones Liturgicae Minores, p. iv. 57 Leon Plantinga, “Poetry and Music: Two Episodes in a Durable Relationship,” in Nancy Kovaleff Baker and Barbara Russano Hanning (eds), Musical Humanism and Its Legacy: Essays in Honor of Claude V.
91; and Ute Ringhandt, Sunt lacrimae rerum, pp. 67–9. Fauxbourdon is mentioned specifically as a rhetorical figure by Joachim Burmeister’s Musica Poetica of 1606; see the modern edition and translation by Benito Rivera, Musical Poetics (New Haven and London: Yale University Press, 1993), pp. 184–5. 20, fol. 21, fol. 32, p. 339 (95). See Chapter 2, pp. 42–5 and 53. 66 Most of the earliest examples he cites, particularly those from Josquin, fall in the general rhetorical category, as did the dedicatory passage from Donato’s Mentre quest’alme et honorate rive cited above.