| Description |
1 online resource (viii, 288 pages) : illustrations, maps, music |
| Series |
Oxford studies in music theory |
|
Oxford studies in music theory.
|
| Contents |
How we got into harmonic tonality, and how to get out -- La questione della lingua: transmission and translation of musical style -- The work of the words -- Halves requiring completion -- From phrase structure to form: the balletto -- Tonal orientation: new tools for navigating the formal landscape -- Humanism and the invention of homophony |
| Summary |
"This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, composers of partsongs developed rigid text setting procedures that promoted both metrical regularity and consistent phrase rhythm. This rhythmic consistency had a ripple effect: it encouraged composers to design symmetrical phrase structures and to build comprehensive, repetitive, and predictable formal structures. Thus, homophonic partsongs create and exploit trajectories from dominants to tonics on multiple scales, from cadence to sub-phrase to phrase to form. Ultimately, this book argues for a model of tonality-and of tonality's history-that centers not pitch, but rhythm and meter. Metrically oriented harmonic trajectories encourage tonal expectation. And we can locate these trajectories in a variety of repertoires, including those that we traditionally understand as 'modal.'"-- Provided by publisher |
| Notes |
"A companion website accompanies Hearing Homophony. This site includes audio clips of all of the partsongs discussed in Chapters 1 through 6. These recordings have been made especially for this book, and feature Elena Mullins (soprano), Melanie Emig (soprano), Megan Kaes Long (alto), Joseph Schlesinger (alto), Evan Bescan (tenor), Gregory Ristow (tenor), Brian MacGilvray (bass), and Brian Kay (lute)"--Page ix |
| Bibliography |
Includes bibliographical references and indexes |
| Notes |
Description based on online resource; title from web page (Oxford Scholarship Online, viewed on September 17, 2020) |
| Subject |
Vocal music -- 16th century -- History and criticism
|
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Vocal music -- 16th century -- Analysis, appreciation
|
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Vocal music -- 17th century -- History and criticism
|
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Vocal music -- 17th century -- Analysis, appreciation
|
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Vocal music
|
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Vocal music -- Analysis, appreciation
|
| Genre/Form |
Criticism, interpretation, etc.
|
| Form |
Electronic book
|
| LC no. |
2019044908 |
| ISBN |
9780190851910 |
|
0190851910 |
|
9780190851934 |
|
0190851937 |
|
9780190851927 |
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0190851929 |
|
