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Books > Arts & Architecture > Music > Western music, periods & styles > Medieval & Renaissance music (c 1000 to c 1600)
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Hearing Homophony - Tonal Expectation at the Turn of the Seventeenth Century (Hardcover)
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Hearing Homophony - Tonal Expectation at the Turn of the Seventeenth Century (Hardcover)
Series: Oxford Studies in Music Theory
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The question of tonality's origins in music's pitch content has
long vexed many scholars of music theory. However, tonality is not
ultimately defined by pitch alone, but rather by pitch's
interaction with elements like rhythm, meter, phrase structure, and
form. Hearing Homophony investigates the elusive early history of
tonality by examining a constellation of late-Renaissance popular
songs which flourished throughout Western Europe at the turn of the
seventeenth century. Megan Kaes Long argues that it is in these
songs, rather than in more ambitious secular and sacred works, that
the foundations of eighteenth century style are found. Arguing that
tonality emerges from features of modal counterpoint - in
particular, the rhythmic, phrase structural, and formal processes
that govern it - and drawing on the arguments of theorists such as
Dahlhaus, Powers, and Barnett, she asserts that modality and
tonality are different in kind and not mutually exclusive. Using
several hundred homophonic partsongs from Italy, Germany, England,
and France, Long addresses a historical question of critical
importance to music theory, musicology, and music performance.
Hearing Homophony presents not only a new model of tonality's
origins, but also a more comprehensive understanding of what
tonality is, providing novel insight into the challenging world of
seventeenth-century music.
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