Book contents
- Frontmatter
- Introduction
- PART I DISCIPLINING MUSIC THEORY
- PART II SPECULATIVE TRADITIONS
- PART III REGULATIVE TRADITIONS
- A Mapping tonal spaces
- 11 Notes, scales, and modes in the earlier Middle Ages
- 12 Renaissance modal theory: theoretical, compositional, and editorial perspectives
- 13 Tonal organization in seventeenth-century music theory
- 14 Dualist tonal space and transformation in nineteenth-century musical thought
- B Compositional Theory
- C Time
- D Tonality
- PART IV DESCRIPTIVE TRADITIONS
- Index of authors
- Index of subjects
- References
13 - Tonal organization in seventeenth-century music theory
from A - Mapping tonal spaces
Published online by Cambridge University Press: 28 March 2008
Edited by
Book contents
- Frontmatter
- Introduction
- PART I DISCIPLINING MUSIC THEORY
- PART II SPECULATIVE TRADITIONS
- PART III REGULATIVE TRADITIONS
- A Mapping tonal spaces
- 11 Notes, scales, and modes in the earlier Middle Ages
- 12 Renaissance modal theory: theoretical, compositional, and editorial perspectives
- 13 Tonal organization in seventeenth-century music theory
- 14 Dualist tonal space and transformation in nineteenth-century musical thought
- B Compositional Theory
- C Time
- D Tonality
- PART IV DESCRIPTIVE TRADITIONS
- Index of authors
- Index of subjects
- References
Summary
Otherwise known as the Age of Reason for the scientific undertakings and discoveries it witnessed, the seventeenth century is frequently seen as a period of uncertainty and confusion in the context of musical thought. From our own present perspective, musical thought of this period is overshadowed both by what precedes it and by what follows: the opposing poles of Renaissance modal theory and eighteenth-century harmonic tonality each seem more intelligible than that which we perceive as the transition between the two. Indeed, much of what we find in seventeenth-century theory appears to present a puzzling mix: ideas that accord strikingly well with the precepts of major-minor tonality appear to mingle freely with the teachings and terminology of modal theory. Added to this seeming paradox is the darkened mood of the theorists themselves, many of whom lament the confusion of their age.
And yet, seventeenth-century music treatises paint a clear, if richly detailed, picture of musical thought if we keep in mind that they address widely different purposes: to serve the church singer in a long-standing and relatively stable practice of liturgical chant; to train keyboardists and other chord-playing instrumentalists in the art of extemporizing harmonies over a bass; to educate the well-rounded musician in the established traditions of counterpoint and modal theory; to instruct the rational mind in the scientific bases of tuning systems; and finally, to enlighten the curious on more speculative and imaginative musical topics, such as Pythagoras’s fabled discovery of harmony in the sound of hammers at the forge, the Boethian harmonic strata, and the legendary origins of music itself.
- Type
- Chapter
- Information
- The Cambridge History of Western Music Theory , pp. 407 - 455Publisher: Cambridge University PressPrint publication year: 2002
References
Del sonare sopra’l basso con tutti li stromenti e dell’uso loro nel conserto, Siena, Falcini, 1607; facs. Bologna, Forni, 1985Google Scholar
Guitarra española de cinco ordenes, Lérida, Lorenço, 1627; facs. Barcelona, Edición Facsímil Barcelona, 1956Google Scholar
The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth & XVIIIth Centuries, Oxford University Press, 1931Google Scholar
“Key and Mode in Seventeenth-Century Music Theory Books,” Journal of Music Theory, New Haven, Yale University Press, 1957– 17 (1973)Google Scholar
“Symposium on Seventeenth-Century Music Theory: England,” Journal of Music Theory, New Haven, Yale University Press, 1957– 16 (1972)Google Scholar
“Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century,” Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 51 (1998)Google Scholar
Breve regola per imparar’ a sonar sopra il basso con ogni sorte d’istromento, Siena, Falcini, 1607Google Scholar
Deutsche Musiktheorie des 15. bis 17. Jahrhunderts. Zweiter Teil von Calvisius bis Mattheson, Geschichte der Musiktheorie, 10 of 15 vols. to date , Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschaftliche Buchgessellschaft, 1984– 8/2 (1994)
Music and Ideas in Seventeenth-Century Italy: The Cazzati–Arresti Polemic, New York, Garland, 1989Google Scholar
Regole per il contrapunto, e per l’accompagnatura del basso continuo, Lucca, Venturini, 1711Google Scholar
“Symposium on Seventeenth-Century Music Theory: Germany,” Journal of Music Theory, New Haven, Yale University Press, 1957– 16 (1972)Google Scholar
A new way of making fowre parts in counterpoint, London, Snodham, c. 1618; reprint in Campion’s Works, ed. , Oxford, Clarendon Press, 1909 and 1966CrossRefGoogle Scholar
Della prattica musica vocale et strumentale, Naples, Carlino, 1601; facs. Bologna, Forni, 1969Google Scholar
“The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory,” Journal of Music Theory, New Haven, Yale University Press, 1957– 36 (1992)Google Scholar
“La Supposition and the Changing Concept of Dissonance in Baroque Theory,” Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 24 (1971)Google Scholar
“Survivals of Renaissance Thought in French Theory 1610–1670: A Bibliographic Study,” in Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. , New York, Norton, 1966Google Scholar
“Symposium on Seventeenth-Century Music Theory: France,” Journal of Music Theory, New Haven, Yale University Press, 1957– 16 (1972)Google Scholar
Englische Musiktheorie im 17. und 18. Jahrhundert, Geschichte der Musiktheorie, 10 of 15 vols. to date , Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschafliche Buchgessellschaft, 1984– 9 (1986)Google Scholar
Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel, Bärenreiter, 1968; trans.Google Scholar
Versetti per tutti li tuoni naturali, come trasportati per l’organo, Op. 2, Bologna, Monti, 1687Google Scholar
Traité de l’accord de l’espinette, auec la comparaison de son clauier à la musique vocale, Paris, Ballard, 1650; trans. as Treatise on Harpsichord Tuning by Jean Denis, Cambridge University Press, 1987CrossRefGoogle Scholar
Il Transilvano, 2 vols. and , 1593–1609; facs. Bologna, Forni, 1969 and 1997; trans. and as The Transylvanian, Henryville, PA, Institute of Mediaeval Music, 1984Google Scholar
“Eine Musiklehre von J. J. Prinner,” in Festschrift Alfred Orel zum 70. Geburtstag, ed. , Rohrer, 1960Google Scholar
, , , and , Italienische Musiktheorie im 16. und 17. Jahrhundert: Antikenrezeption und Satzlehre, Geschichte der Musiktheorie, 10 of 15 vols. to date, ed. , Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschafliche Buchgessellschaft, 1984– 7 (1989)Google Scholar
L’armonico pratico al cimbalo, Venice, Bortoli, 1708; facs. New York, Broude, 1967; trans. as The Practical Harmonist at the Harpsichord, New Haven, Yale University Press, 1963Google Scholar
Dodecachordon, Basel, H. Petri, 1547; facs. Hildesheim, G. Olms, 1969, and New York, Broude, 1967; trans. , Musicological Studies and Documents, ed. , American Institute of Musicology, Neuhausen-Stuttgart, Hänssler, 1957– 6 (1965)Google Scholar
Der General-Bass in der Composition, Dresden, Heinichen, 1728; facs. Hildesheim, G. Olms, 1994Google Scholar
Treatise of the natural grounds and principles of harmony, London, Heptinstall, 1694; facs. New York, Broude, 1967Google Scholar
“Symposium on Seventeenth-Century Music Theory: Italy,” Journal of Music Theory, New Haven, Yale University Press, 1957– 16 (1972)Google Scholar
“French Baroque Organ Music and the Eight Tones,” Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 11 (1958)Google Scholar
“Symposium on Seventeenth-Century Music Theory: Spain,” Journal of Music Theory, New Haven, Yale University Press, 1957–, 16 (1972)Google Scholar
“The Concept of Mode in Italian Guitar Music during the First Half of the 17th Century,” Acta 42 (1970)Google Scholar
“Solmization in the English Treatises Around the Turn of the Seventeenth Century: A Break from Modal Theory,” Theoria 5 (1990)Google Scholar
. Traité de la musique, Paris, Ballard, 1656; trans. as Treatise on Music, Brooklyn, Institute of Mediaeval Music, 1972Google Scholar
Les pièces de clavessin, Paris, Baillon, 1677; ed. as Œuvres de clavecin, Monaco, Oiseau-Lyre, 1956Google Scholar
Between Modes and Keys: German Theory, 1592–1802, Stuyvesant, NY, Pendragon Press, 1989Google Scholar
Synopsis musicae novae, Strassburg, K. Kieffer, 1612; trans. as Synopsis of New Music, Colorado Springs, Colorado College Music Press, 1977Google Scholar
Melothesia: or, certain general rules for playing upon a continued bass, London, Carr, 1673; facs. New York, Broude, 1975Google Scholar
Eléments ou principes de la musique, Paris, Ballard, 1696; facs. Geneva, Minkoff, 1971; trans. as Elements or Principles of Music, New York, Institute of Mediaeval Music, 1965Google Scholar
Les tons, ou discours, sur les modes de musique, et les tons de l’eglise, et la distinction en iceux, Tournai, Martin, 1610; facs. Geneva, Minkoff, 1972Google Scholar
Nouveau traité des règles pour la composition de la musique, Paris, Ballard, 1694; facs. New York, Da Capo, 1967Google Scholar
The false consonances of musick; or instructions for the playing of a true bass upon the guitarre, London, 1682; facs. ed. , Monaco, Chanterelle, 1980Google Scholar
Das neu-eröffnete Orchestre, Hamburg, B. Schiller, 1713; facs. Hildesheim, G. Olms, 1997Google Scholar
Die Tonarten der klassichen Vokalpolyphonie, nach den Quellen dargestellt, Utrecht, Oosthoek, Scheltema, and Holkema, 1974; trans. as The Modes of Classical Vocal Polyphony, New York, Broude, 1988Google Scholar
Nouvelle instruction familière, en laquelle sont contenus les difficultés de la musique, avecques le nombre des concordances, et accords: ensemble la manière d’en user, tant à deux, à trois, à quatres, qu’à cinq parties: nouvellement composée par Michel de Menehou, maistre des enfans de chœur de l’église Sainct Maur des fossez, lez Paris..., Paris, Nicolas du Chemin, 1558.Google Scholar
Harmonie universelle, Paris, S. Cramoisy, 1636–37; facs. Paris, Centre National de la Recherche Scientifique, 1963 and 1986Google Scholar
La belle methode, ou l’art de bien chanter, Lyons, Gregoire, 1666; facs. New York, Da Capo, 1973Google Scholar
A plaine and easie introduction to practicall musicke, London, Short, 1597; facs. New York, Da Capo, 1969Google Scholar
as “Jean Rousseau’s Traité de la viole 1687,” Consort 33 (1977); 34 (1978); 36 (1980); 37 (1981); 38 (1982)Google Scholar
Livre d’orgue contenant cent pieces de tous les tons de l’eglise, Paris, Ballard, 1665Google Scholar
“Concepts of Pitch in English Music Theory,” in Tonal Structures in Early Music, ed. , New York, Garland, 1998Google Scholar
An Introduction to the skill of musick, 7th edn., London, Playford, 1674; facs. Ridgewood, NJ, Gregg, 1966Google Scholar
“From Psalmody to Tonality,” in Tonal Structures in Early Music, ed. , New York, Garland, 1998Google Scholar
“Is Mode Real? Pietro Aron, the Octenary system, and Polyphony,” Basler Jahrbuch für Historische Musikpraxis, 16 (1992)Google Scholar
German Music Theory in the Early 17th Century: The Treatises of Johannes Lippius, Ann Arbor, UMI Research Press, 1974Google Scholar
Méthode claire, certaine et facile pour apprendre à chanter la musique, Paris, Rousseau, 1683Google Scholar
Traité de la viole, Paris, Ballard, 1687; facs. Amsterdam, Antiqua, 1965; trans. in five parts byGoogle Scholar
Toni ecclesiastici colle sue intonationi, all’uso romano. Modo per sonare il basso continuo, Rome, Grignani, 1650Google Scholar
Französische Musiktheorie im 16. und 17. Jahrhundert, Geschichte der Musiktheorie, 10 of 15 vols. to date, ed. , Staatliches Institut fr Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschaftliche Buchgessellschaft, 1984– 9 (1986)Google Scholar
A compendium of practical music, 2nd edn., London, Godbid, 1667; ed. , Oxford, Blackwell, 1970Google Scholar
“The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo,” Theoria 4 (1989)Google Scholar
Le Magnificat ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise, Paris, Ballard, 1626Google Scholar
“French Modal Theory Before Rameau,” Journal of Music Theory, New Haven, Yale University Press, 1957– 17 (1973)Google Scholar
“Ritual Use of the Organ in France,” Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 33 (1980)Google Scholar
“From Renaissance ‘Fuga’ to Baroque Fugue: The Role of the ‘Sweelinck Theory Manuscripts,’” Schütz-Jahrbuch (1986)Google Scholar
Theories of Fugue from the Age of Josquin to the Age of Bach, Rochester, NY, University of Rochester Press, 2000.Google Scholar
The grounds and rules of musick explained, or, an introduction to the art of singing by note fitted to the meanest capacities, Boston, Franklin, 1721Google Scholar
Die nothwendigsten Anmerckungen und Regeln wie der Bassus Continuus, Aschersleben, Struntze, 1698; facs. Michaelstein, Kultur- und Forschungsstätte Michaelstein, 1985Google Scholar
Erweiterte und verbesserte Orgel-Probe, Quedlinburg, Calvisius and Sievert, 1698; facs. Kassel, Bärenreiter, 1970Google Scholar
Le istitutioni harmoniche, Venice, Franceschi, 1558; facs. New York, Broude, 1965; trans.of PartIV by as On the Modes, New Haven, Yale University Press, 1983
Le istitutioni harmoniche, rev. edn., Venice, Franceschi, 1573; facs. Ridgewood, NJ, Gregg, 1966Google Scholar
- 18
- Cited by