From modes to keys in early modern music theory:
"The nature of the transition from the Renaissance modes to the major and minor keys of the high Baroque has long remained one of musicology's great unanswered questions. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transposition levels; the scheme J....
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| Format: | Buch |
| Sprache: | English |
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New York, NY
Oxford University Press
[2024]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "The nature of the transition from the Renaissance modes to the major and minor keys of the high Baroque has long remained one of musicology's great unanswered questions. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transposition levels; the scheme J.S. Bach used to order The Well-Tempered Clavier in 1722 featured two modes at twelve transposition levels. What took place in between? This book, the product of deep engagement with the corpus of Western music theory, presents a model to clarify the factors of this complex shift. The essence of this model is the dynamic interplay of three historical-conceptual layers arising successively in the Middle Ages, Renaissance, and Baroque, each layer continuing once introduced. Medieval theorists conceived mode along a continuum between tune and scale. Renaissance theorists extended mode from plainchant to polyphony, applying it to such parameters as cadential hierarchies and contrapuntal imitation. Early Baroque mapping of vocal modality onto the keyboard catalyzed a transformation from diatonic gamut to chromatic keyboard as background pitch system, with a corresponding change from ladder to circle as the dominant model for tonal space, culminating in the circle of fifths. Illustrating the rise of tonal circularity are dozens of diagrams from historical treatises. Especially revealing are volvelles, rotating paper wheels that highlight music's ties to cartography and cosmography at the dawn of the scientific revolution. This study fittingly culminates with exploration of tonal labyrinths, pieces that modulate around the circle of fifths"-- |
| Beschreibung: | xxx, 477 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780199338153 |
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| 520 | 3 | |a "The nature of the transition from the Renaissance modes to the major and minor keys of the high Baroque has long remained one of musicology's great unanswered questions. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transposition levels; the scheme J.S. Bach used to order The Well-Tempered Clavier in 1722 featured two modes at twelve transposition levels. What took place in between? This book, the product of deep engagement with the corpus of Western music theory, presents a model to clarify the factors of this complex shift. The essence of this model is the dynamic interplay of three historical-conceptual layers arising successively in the Middle Ages, Renaissance, and Baroque, each layer continuing once introduced. Medieval theorists conceived mode along a continuum between tune and scale. Renaissance theorists extended mode from plainchant to polyphony, applying it to such parameters as cadential hierarchies and contrapuntal imitation. Early Baroque mapping of vocal modality onto the keyboard catalyzed a transformation from diatonic gamut to chromatic keyboard as background pitch system, with a corresponding change from ladder to circle as the dominant model for tonal space, culminating in the circle of fifths. Illustrating the rise of tonal circularity are dozens of diagrams from historical treatises. Especially revealing are volvelles, rotating paper wheels that highlight music's ties to cartography and cosmography at the dawn of the scientific revolution. This study fittingly culminates with exploration of tonal labyrinths, pieces that modulate around the circle of fifths"-- | |
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Datensatz im Suchindex
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|---|---|
| adam_text |
Contents List ofFigures List ofMusical Examples List of Tables Preface Acknowledgments ix xxi xxiii xxv xxvii 1. A Model for Change in Modal Theory and Practice Toward a model for change: the challenge A hermeneutic approach A three-fold model for modal change Structure of this book 1 2 5 9 11 2. A Brief Introduction to Modal Systems The eight modes and the medieval pitch-system The twelve modes Ihe twelve modes after Glarean and Zarlino The church tones The major and minor keys 13 13 30 34 37 44 3. Making Sense of Early Modern Modal Theory Modal systems in competition A three-fold model for change in modal theory The model applied 47 47 53 68 4. The Tuoni in Italian Renaissance Music Theory Four views on the ontology of the tones View 1 : The tones are manifestations of their respective modes View 2: The tones parallel the modes, but differ in essence 71 71 74 78 5. The Baroque Church Tones in Western European Music Theory How theorists viewed the church tones: views 3 and 4 Tonalities of the church tones Parameters of representation Banchieri’s tuoni ecclesiastici Parameters of representation after Banchieri Toward two modes within the church tones 87 94 98 100 102 128 161
viii CONTENTS 6. Two Modes Reducing the modes to two in French theory Reducing the modes to two in German theory Mode as abstract scale: syllabic vs. numeric representation Modal models for major and minor 170 172 177 183 205 7. Organizing Schemes for the Two Modes, 1687-1722 Stepwise by final By type of key, then stepwise by final By increasing key signatures and/or fifths Conclusion 209 212 216 219 222 8. Changing Concepts of Tonal Space Conceptualizing tonal space: ladders Conceptualizing tonal space: circles 226 228 247 9. Musical Circles and Labyrinths Notational and technical labyrinths From ladders to circles in individual modulatory pieces Conclusion 346 347 348 360 Notes Bibliography Primary sources Secondary sources Musical sources Name Index General Index 365 427 427 442 462 467 473 |
| adam_txt |
Contents List ofFigures List ofMusical Examples List of Tables Preface Acknowledgments ix xxi xxiii xxv xxvii 1. A Model for Change in Modal Theory and Practice Toward a model for change: the challenge A hermeneutic approach A three-fold model for modal change Structure of this book 1 2 5 9 11 2. A Brief Introduction to Modal Systems The eight modes and the medieval pitch-system The twelve modes Ihe twelve modes after Glarean and Zarlino The church tones The major and minor keys 13 13 30 34 37 44 3. Making Sense of Early Modern Modal Theory Modal systems in competition A three-fold model for change in modal theory The model applied 47 47 53 68 4. The Tuoni in Italian Renaissance Music Theory Four views on the ontology of the tones View 1 : The tones are manifestations of their respective modes View 2: The tones parallel the modes, but differ in essence 71 71 74 78 5. The Baroque Church Tones in Western European Music Theory How theorists viewed the church tones: views 3 and 4 Tonalities of the church tones Parameters of representation Banchieri’s tuoni ecclesiastici Parameters of representation after Banchieri Toward two modes within the church tones 87 94 98 100 102 128 161
viii CONTENTS 6. Two Modes Reducing the modes to two in French theory Reducing the modes to two in German theory Mode as abstract scale: syllabic vs. numeric representation Modal models for major and minor 170 172 177 183 205 7. Organizing Schemes for the Two Modes, 1687-1722 Stepwise by final By type of key, then stepwise by final By increasing key signatures and/or fifths Conclusion 209 212 216 219 222 8. Changing Concepts of Tonal Space Conceptualizing tonal space: ladders Conceptualizing tonal space: circles 226 228 247 9. Musical Circles and Labyrinths Notational and technical labyrinths From ladders to circles in individual modulatory pieces Conclusion 346 347 348 360 Notes Bibliography Primary sources Secondary sources Musical sources Name Index General Index 365 427 427 442 462 467 473 |
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| spelling | Dodds, Michael R. 19XX- Verfasser (DE-588)1320957501 aut From modes to keys in early modern music theory Michael R. Dodds New York, NY Oxford University Press [2024] © 2024 xxx, 477 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier "The nature of the transition from the Renaissance modes to the major and minor keys of the high Baroque has long remained one of musicology's great unanswered questions. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transposition levels; the scheme J.S. Bach used to order The Well-Tempered Clavier in 1722 featured two modes at twelve transposition levels. What took place in between? This book, the product of deep engagement with the corpus of Western music theory, presents a model to clarify the factors of this complex shift. The essence of this model is the dynamic interplay of three historical-conceptual layers arising successively in the Middle Ages, Renaissance, and Baroque, each layer continuing once introduced. Medieval theorists conceived mode along a continuum between tune and scale. Renaissance theorists extended mode from plainchant to polyphony, applying it to such parameters as cadential hierarchies and contrapuntal imitation. Early Baroque mapping of vocal modality onto the keyboard catalyzed a transformation from diatonic gamut to chromatic keyboard as background pitch system, with a corresponding change from ladder to circle as the dominant model for tonal space, culminating in the circle of fifths. Illustrating the rise of tonal circularity are dozens of diagrams from historical treatises. Especially revealing are volvelles, rotating paper wheels that highlight music's ties to cartography and cosmography at the dawn of the scientific revolution. This study fittingly culminates with exploration of tonal labyrinths, pieces that modulate around the circle of fifths"-- Geschichte 1500-1750 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Modus Musik (DE-588)4170337-6 gnd rswk-swf Modus Musik (DE-588)4170337-6 s Musiktheorie (DE-588)4040876-0 s Geschichte 1500-1750 z DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034806107&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Dodds, Michael R. 19XX- From modes to keys in early modern music theory Musiktheorie (DE-588)4040876-0 gnd Modus Musik (DE-588)4170337-6 gnd |
| subject_GND | (DE-588)4040876-0 (DE-588)4170337-6 |
| title | From modes to keys in early modern music theory |
| title_auth | From modes to keys in early modern music theory |
| title_exact_search | From modes to keys in early modern music theory |
| title_exact_search_txtP | From modes to keys in early modern music theory |
| title_full | From modes to keys in early modern music theory Michael R. Dodds |
| title_fullStr | From modes to keys in early modern music theory Michael R. Dodds |
| title_full_unstemmed | From modes to keys in early modern music theory Michael R. Dodds |
| title_short | From modes to keys in early modern music theory |
| title_sort | from modes to keys in early modern music theory |
| topic | Musiktheorie (DE-588)4040876-0 gnd Modus Musik (DE-588)4170337-6 gnd |
| topic_facet | Musiktheorie Modus Musik |
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