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 strength dependent upon the categorical melodic and harmonic periods from which it truly is built. 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 track to reconstruct his cutting edge theories pertaining to how track could converse extramusical principles. For Willaert, the appellations 'major' and 'minor' now not signified in simple terms the bigger and smaller of a couple of like-numbered durations; fairly, 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 ebook engages with the madrigals of Willaert's landmark song nova assortment and demonstrates that they articulate a conception of musical impact extra complicated and forward-looking than famous at present. The booklet additionally lines the origins of 1 of the main common musical institutions in Western tradition: the idea that significant periods, chords and scales are appropriate for the expression of satisfied affections, and minor for unhappy ones. McKinney concludes through discussing the impression of Willaert's idea at the madrigals of composers reminiscent of 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 have an effect on from the Renaissance view established 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
21, p. 8, p. 195) are replicated again and again down the centuries. 58 20 Adrian Willaert and the Theory of Interval Affect as in philosophical thought more generally), and given the prevalence of such oppositions in the Petrarchan poetry that attracted Willaert and many subsequent madrigalists, it seems inevitable that the major and minor harmonic qualities would eventually be assigned to opposite sides of an affective spectrum. 62 Of these three techniques, instances of the first two are found far more frequently and consistently in the works of a broader spectrum of composers, yet it is the first and third techniques upon which Vicentino and Zarlino focus their theoretical attention, as we shall see in the next chapter, and they do not even mention the second as such.
357 and 365. See also Alfred Einstein, The Italian Madrigal, vol. 1, pp. 230–32. 74 Carapetyan, “The Musica Nova of Adriano Willaert,” pp. 179–80 and 255–7. See also the Gafori reference in n. 65 of this chapter. ” While Mace’s notion that Bembo provided the principal impetus for the origin of the cinquecento madrigal in general has been challenged by many scholars, the influence of Bembo on the Venetian musical and theoretical circles in which Willaert and Zarlino moved is undeniable. ), Music in Medieval and Early Modern Europe: Patronage, Sources and Texts (Cambridge: Cambridge University Press, 1981), pp.
Press, 1978), p. 133. He also advises composers to compose chant “so aptly that it seems to 33 12 Adrian Willaert and the Theory of Interval Affect somber than their authentic counterparts. 36 I am not aware of any evidence suggesting that music theorists discussing polyphonic music prior to the 1550s were concerned with the affective quality of intervals in a systematic way, whether in the abstract or in relation to an interval’s position within a mode. Previous theorists attended to intervals primarily for their propaedeutical value as fundamental building blocks of musical structure, necessary for constructing theoretical pitch systems such as tetrachords, hexachords, modes, and so forth, or for addressing melodic, harmonic, or contrapuntal concepts.
Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino by Timothy R. McKinney