Full Description
The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive.
Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.
Contents
Acknowledgements
About the Companion Website
Chapter 1: How We Got into Harmonic Tonality, and How to Get Out
Chapter 2: La questione della lingua: Transmission and Translation of Musical Style
Chapter 3: The Work of the Words
Chapter 4: Halves Requiring Completion
Chapter 5: From Phrase Structure to Form: The Balletto
Chapter 6: Tonal Orientation: New Tools for Navigating the Formal Landscape
Chapter 7: Humanism and the Invention of Homophony
Epilogue
Bibliography
Index
