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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: The 'theory of interval affect' originates not with Nicola Vicentino or Gioseffo Zarlino, 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 extra musical 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. The book engages with the madrigals of Willaert's landmark Music nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. Buchnummer des Verkäufers

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Inhaltsangabe: 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.

Über den Autor: Timothy McKinney, Associate Professor, School of Music, Baylor University, USA

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ISBN 10: 0754665097 ISBN 13: 9780754665090
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Buchbeschreibung Buchzustand: VeryGood. The cover shows normal very light wear if any on edges and corners. Dust jackets shows light wear around corners, edges, front and or back but in very good condition. Pages show light wear on edges, corners, front and or back and is still in great condition. Fast Shipping - Safe and Secure Bubble Mailer!. Buchnummer des Verkäufers 2OV9EJ0008OD

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Buchbeschreibung Ashgate 2010-08-28, Farnham, 2010. hardback. Buchzustand: New. Buchnummer des Verkäufers 9780754665090

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Timothy R. Mckinney
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Buchbeschreibung Taylor Francis Ltd, United Kingdom, 2010. Hardback. Buchzustand: New. 236 x 160 mm. Language: English . Brand New Book. 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. Buchnummer des Verkäufers AA69780754665090

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Buchbeschreibung Taylor Francis Ltd, United Kingdom, 2010. Hardback. Buchzustand: New. 236 x 160 mm. Language: English . Brand New Book. 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. Buchnummer des Verkäufers AA69780754665090

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Buchbeschreibung Buchzustand: New. Depending on your location, this item may ship from the US or UK. Buchnummer des Verkäufers 97807546650900000000

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