From Modes to Keys in Early Modern Music Theory
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Product details:
- Publisher OUP USA
- Date of Publication 18 January 2024
- ISBN 9780199338153
- Binding Hardback
- No. of pages512 pages
- Size 229x163x53 mm
- Weight 839 g
- Language English
- Illustrations 40 musical examples 480
Categories
Short description:
From Modes to Keys in Early Modern Music Theory addresses one of the broadest and most elusive open topics in music history: the transition from the Renaissance modes to the major and minor keys of the high Baroque. Through deep engagement with the corpus of Western music theory, author Michael R. Dodds presents a model to clarify the factors of this complex shift.
MoreLong description:
From Modes to Keys in Early Modern Music Theory addresses one of the broadest and most elusive open topics in music history: the transition from the Renaissance modes to the major and minor keys of the high Baroque. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transposition levels; the scheme J.S. Bach used to order The Well-Tempered Clavier in 1722 featured two modes at twelve transposition levels. What took place in between?
Through deep engagement with the corpus of Western music theory, author Michael R. Dodds presents a model to clarify the factors of this complex shift. The essence of this model lies in the dynamic interplay of three historical-conceptual layers arising successively in the Middle Ages, Renaissance, and Baroque, each layer continuing once introduced. Medieval theorists conceptualized mode along a continuum between tune and scale. Renaissance theorists extended mode from plainchant to polyphony, applying modal theory to such features as cadential hierarchies and contrapuntal imitation. Early Baroque mapping of vocal modality onto the keyboard catalyzed a transformation from the diatonic gamut to the chromatic keyboard as background pitch system, with a corresponding change from ladder to circle as the dominant model for tonal space, culminating in the circle of fifths. Spanning two centuries of music and music theory, and incorporating dozens of diagrams from historical treatises, Dodds provides the first comprehensive study of the transition from the Renaissance modes to the major and minor keys.
Michael Dodds offers an ambitious and wide-ranging account of one of the most vexing problems in the history of Western music, the shift from mode to key. Dodds brings unparalleled knowledge of musical repertories and theoretical thought to illuminate pivotal moments. Disentangling diverse strands of thought he offers a three-fold model to explain change based on the dynamic interplay among three historical-conceptual layers. From Modes to Keys becomes the starting point for all future investigations of mode.
Table of Contents:
Epigraph
Acknowledgments
List of Figures
List of Musical Examples
List of Tables
Preface
Chapter 1: A Model for Change in Modal Theory & Practice
Chapter 2: A Brief Introduction to Modal Systems
Chapter 3: Making Sense of Early Modern Modal Theory
Chapter 4: The Tuoni in Italian Renaissance Theory
Chapter 5: The Baroque Church Tones in Western European Theory
Chapter 6: Two Modes
Chapter 7: Organizing Schemes for the Two Modes
Chapter 8: Changing Concepts of Tonal Space
Chapter 9: Musical Circles and Labyrinths
Bibliography
Name Index
General Index
