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 energy dependent upon the explicit melodic and harmonic durations from which it really is built. yet this 'theory of period affect' originates no longer 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 song to reconstruct his cutting edge theories pertaining to how song may possibly speak extramusical rules. For Willaert, the appellations 'major' and 'minor' not signified basically the bigger and smaller of a couple of like-numbered durations; particularly, they turned different types of sonic personality, the contributors of that are comparable by means of 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 track nova assortment and demonstrates that they articulate a conception of musical impact extra complicated and forward-looking than well-known presently. The e-book additionally strains the origins of 1 of the main common musical institutions in Western tradition: the concept that significant durations, chords and scales are compatible for the expression of satisfied affections, and minor for unhappy ones. McKinney concludes by means of discussing the impression of Willaert's conception 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 impact 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 resources for Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino
47 Perkins, “Towards a Theory,” p. 327. 48 After citing Zarlino’s famous comments in Book 4, Chapter 32 of Le istitutioni harmoniche (quoted in Chapter 2 below), Perkins suggests that the practice they describe represents an extension of cognitive mimesis; that is, musical devices are applied to individual happy or sad words or phrases with descriptive intent rather than a truly affective one; they imitate the emotion mentioned in the text rather than convey it, at least in the sense meant by Vincenzo Galilei in reference to setting the overall affection of the text rather than painting its details only; pp.
247–9. 71 One can readily see that harmonic major thirds dominate section A while harmonic minor thirds prevail in section B: section A has a 4:1 ratio of major to minor by duration, and section B roughly 3:2 minor to major, with most of the major sonorities overlapping with the preceding or following phrase; the heart of section B in mm. 12–20 has a 4:1 ratio of minor to major. One also may see that suspended major sixths form a prominent feature of the harsh section, yet disappear entirely in the sweet section.
163–92; Brown, “Words and Music,” pp. 229– 31; Palisca, Humanism, pp. 355–68; Fenlon and Haar, The Italian Madrigal in the Early Sixteenth Century: Sources and Interpretation (Cambridge: Cambridge University Press, 1988), pp. 28–9; Stefano La Via, “Madrigale e rapporto fra poesia e musica nella critica letteraria del cinquecento,” Studi musicali 19/1 (1990), pp. 6 Willaert, Aspro core e selvaggio e cruda voglia, mm. 1–22 Contexts 27 concluded 28 Adrian Willaert and the Theory of Interval Affect Mace asserted that “dissonant” six-three chords reflect the harsh-sounding words of the first line and consonant five-three chords the more pleasant-sounding words of the second line, while a change to a triple rhythm mirrors that of the text.
Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino by Timothy R. McKinney