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Books > Arts & Architecture > Music > Western music, periods & styles > Baroque music (c 1600 to c 1750)
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Adrian Willaert and the Theory of Interval Affect - The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino (Hardcover, New Ed)
Loot Price: R4,404
Discovery Miles 44 040
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Adrian Willaert and the Theory of Interval Affect - The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino (Hardcover, New Ed)
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In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino
(1558) is found, for the first time, a systematic means of
explaining music's expressive power based upon the specific melodic
and harmonic intervals from which it is constructed. This "theory
of interval affect" originates not with these theorists, however,
but with their teacher, influential Venetian composer Adrian
Willaert (1490-1562). Because Willaert left no theoretical writings
of his own, Timothy McKinney uses Willaert's music to reconstruct
his innovative theories concerning how music might communicate
extramusical ideas. For Willaert, the appellations "major" and
"minor" no longer signified merely the larger and smaller of a pair
of like-numbered intervals; rather, they became categories of sonic
character, the members of which are related by a shared sounding
property of "majorness" or "minorness" that could be manipulated
for expressive purposes. This book engages with the madrigals of
Willaert's landmark Musica nova collection and demonstrates that
they articulate a theory of musical affect more complex and
forward-looking than recognized currently. The book also traces the
origins of one of the most widespread musical associations in
Western culture: the notion that major intervals, chords and scales
are suitable for the expression of happy affections, and minor for
sad ones. McKinney concludes by discussing the influence of
Willaert's theory on the madrigals of composers such as Vicentino,
Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio,
Francesco dalla Viola, and Baldassare Donato, and describes the
eventual transformation of the theory of interval affect from the
Renaissance view based upon individual intervals measured from the
bass, to the Baroque view based upon invertible triadic entities.
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