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 established upon the explicit melodic and harmonic durations from which it really 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 leading edge theories bearing on how song may perhaps speak extramusical rules. For Willaert, the appellations 'major' and 'minor' now not signified purely the bigger and smaller of a couple of like-numbered periods; fairly, they grew to become different types of sonic personality, the participants of that are similar through a shared sounding estate of 'majorness' or 'minorness' which may be manipulated for expressive reasons. This e-book engages with the madrigals of Willaert's landmark song nova assortment and demonstrates that they articulate a idea of musical have an effect on extra advanced and forward-looking than famous presently. The e-book additionally lines the origins of 1 of the main common musical institutions in Western tradition: the proposal that significant durations, chords and scales are appropriate for the expression of chuffed 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 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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Additional info for Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino
Perkins nonetheless considers the practice Zarlino describes as affective, though as a sublevel of the mimetic. 2). 2 Baldassare Donato, Mentre quest’alme et honorate rive, mm. 12–16 49 Perkins, “Towards a Theory,” p. 324. See the further discussion of Baldassare Donato in Chapter 5, pp. 279–82. 51 Feldman, City Culture, pp. 390–91, gives the entire dedication and her translation of it. 52 Throughout this study I shall employ the modern convenience of referring to specific locations within Renaissance musical works by measure numbers and beats.
She finds the Bembist concern for the sonic quality of poetry reflected in Willaert’s attention to declamatory rhythm and vowel sound in his settings as well. 81 David Nutter and Paul Christopher Schick have examined literary dialogic principles and their 79 Statistic from Michèle Fromson, “Themes of Exile in Willaert’s Musica nova,” Journal of the American Musicological Association 47/3 (1994), p. 443. The relevant excerpts of many of these documents are reproduced in Owens and Agee, “La stampa,” pp.
2, p. 172; as quoted in Rivera, “Finding the Soggetto,” p. 87. v. “Willaert,” New Grove Online. Contexts 33 But to understand Musica nova and its significance, we must recognize that these features, though perhaps less appealing to performers of later generations, were hewn by Willaert with skillful intent. ”96 Recognizing that each of Willaert’s Musica nova madrigals must be taken as a “reading” rather than merely a “setting” of the poem is thus essential to an aesthetic appreciation of the collection, as James Haar implies in his discussion of L’aura mia sacra: … there is little that is melodically striking in this madrigal, and very little exact melodic correspondence among the voices.