Adrian Willaert and the Theory of Interval Affect The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino 1st Edition by Timothy R Mckinney ISBN 0754665097 9780754665090

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ISBN 10: 0754665097 
ISBN 13: 9780754665090
Author: Timothy R Mckinney

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.

Adrian Willaert and the Theory of Interval Affect The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino 1st Table of contents:

1 Contexts
The Principal Players and a Venetian Backdrop.5
The Novelty of the Theory of Interval Affect
Text-Music Relations in General
Theories Old and New: Hexachordal Convention and Interval Quality
Musica nova: Reception, Scholarship, and Paradox
Styles Public and Private, Sacred and Secular
2 Definition, Evaluation, and Validation of the Theory of Interval Affect
Zarlino and Vicentino on Interval Affect
The Efficacy of the Theory of Interval Affect
Properties of the Gamut and Their Implications for the Affective Use of Intervals
Analysis of the Exordium of Aspro core
Per motum contrarium: The 5–6 Motion as an Affective Device
Musica nova and Zarlino’s Discussion of Musical Affect: A Closer Look
Excursus: A Tale of Two Tropes and Aspro core’s Exordium
Conclusion
3 Expressive Functions of Harmony in the Musica nova Madrigals1
L’aura mia sacra
I vidi in terra angelici costumi
Willaert, Bembo, and Mentre che’l cor
I piansi, hor canto and Cantai: hor piango
4 Willaert’s Other Madrigals and the Theory of Interval Affect
The Earlier-Published Madrigals
The Later-Published Madrigals
Conclusion
5 The Compositional Legacy of Willaert’s Theory of Interval Affect
Vicentino
Zarlino
Some Initial Conclusions
Other Madrigalists in Willaert’s Circle
Closing Thoughts and the Transformation of Willaert’s Theory of Interval Affect
Select Bibliography

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Tags: Timothy R Mckinney, Adrian, Willaert