Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-25T00:13:00.283Z Has data issue: false hasContentIssue false

13 - Tonal organization in seventeenth-century music theory

from A - Mapping tonal spaces

Published online by Cambridge University Press:  28 March 2008

Thomas Christensen
Affiliation:
University of Chicago
Get access

Summary

Otherwise known as the Age of Reason for the scientific undertakings and discoveries it witnessed, the seventeenth century is frequently seen as a period of uncertainty and confusion in the context of musical thought. From our own present perspective, musical thought of this period is overshadowed both by what precedes it and by what follows: the opposing poles of Renaissance modal theory and eighteenth-century harmonic tonality each seem more intelligible than that which we perceive as the transition between the two. Indeed, much of what we find in seventeenth-century theory appears to present a puzzling mix: ideas that accord strikingly well with the precepts of major-minor tonality appear to mingle freely with the teachings and terminology of modal theory. Added to this seeming paradox is the darkened mood of the theorists themselves, many of whom lament the confusion of their age.

And yet, seventeenth-century music treatises paint a clear, if richly detailed, picture of musical thought if we keep in mind that they address widely different purposes: to serve the church singer in a long-standing and relatively stable practice of liturgical chant; to train keyboardists and other chord-playing instrumentalists in the art of extemporizing harmonies over a bass; to educate the well-rounded musician in the established traditions of counterpoint and modal theory; to instruct the rational mind in the scientific bases of tuning systems; and finally, to enlighten the curious on more speculative and imaginative musical topics, such as Pythagoras’s fabled discovery of harmony in the sound of hammers at the forge, the Boethian harmonic strata, and the legendary origins of music itself.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2002

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Cohen, A. as Treatise on the Composition of Music, Brooklyn, Institute of Mediaeval Music, 1961Google Scholar
Gruber, A. as Dictionary of Music, Henryville, PA, Institute of Mediaeval Music, 1982Google Scholar
Agazzari, A.Del sonare sopra’l basso con tutti li stromenti e dell’uso loro nel conserto, Siena, Falcini, 1607; facs. Bologna, Forni, 1985Google Scholar
Alec, Harman as A Plain and Easy Introduction to Practical Music, New York, Norton, 1973Google Scholar
Amat, J. C.Guitarra española de cinco ordenes, Lérida, Lorenço, 1627; facs. Barcelona, Edición Facsímil Barcelona, 1956Google Scholar
Angleria, C.La regola del contraponto, Milan, Rolla, 1622; facs. Bologna, Forni, 1983Google Scholar
Arnold, F. T.The Art of Accompaniment from a Thorough-Bass as Practised in the XVIIth & XVIIIth Centuries, Oxford University Press, 1931Google Scholar
Atcherson, W. T.Key and Mode in Seventeenth-Century Music Theory Books,Journal of Music Theory, New Haven, Yale University Press, 195717 (1973)Google Scholar
Atcherson, W. T.Symposium on Seventeenth-Century Music Theory: England,Journal of Music Theory, New Haven, Yale University Press, 195716 (1972)Google Scholar
Banchieri, A.Cartella musicale, Venice, G. Vincenti, 1614; facs. Bologna, Forni, 1968Google Scholar
Barnett, G.Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century,” Journal of the American Musicological Society, University of Chicago Press, et al., 194851 (1998)Google Scholar
Berardi, A.Il perché musicale, Bologna, Pier Maria Mont, 1693Google Scholar
Berardi, A.Miscellanea musicale, Bologna, G. Monti, 1689Google Scholar
Bianciardi, F.Breve regola per imparar’ a sonar sopra il basso con ogni sorte d’istromento, Siena, Falcini, 1607Google Scholar
Bianconi, L.Il Seicento, Turin, Edizioni di Torino, 1982; trans.Google Scholar
Bononcini, G. M.Musico prattico, Bologna, G. Monti, Op. 8, 1673; facs. New York, Broude, 1969Google Scholar
Braun, W.Deutsche Musiktheorie des 15. bis 17. Jahrhunderts. Zweiter Teil von Calvisius bis Mattheson, Geschichte der Musiktheorie, 10 of 15 vols. to date Zaminer, F., Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschaftliche Buchgessellschaft, 19848/2 (1994)
Brett, U.Music and Ideas in Seventeenth-Century Italy: The Cazzati–Arresti Polemic, New York, Garland, 1989Google Scholar
Brossard, S.Dictionnaire de musique, Paris, Ballard, 1703; facs. Geneva, Minkoff, 1992; trans.Google Scholar
Bruschi, A.Regole per il contrapunto, e per l’accompagnatura del basso continuo, Lucca, Venturini, 1711Google Scholar
Buelow, G.Symposium on Seventeenth-Century Music Theory: Germany,” Journal of Music Theory, New Haven, Yale University Press, 195716 (1972)Google Scholar
Burmeister, J.Musica autoschediastike, Rostock, C. Reusnerus, 1601Google Scholar
Butler, C.The principles of musick, London, Haviland, 1636; facs. New York, Da Capo, 1970Google Scholar
Calvisius, S.Exercitationes musicae duae, Leipzig, Apelii, 1600; facs. Hildesheim, G. Olms, 1973Google Scholar
Calvisius, S.Melopoeia sive melodiae condendae ratio, Erfurt, Baumann, 1592Google Scholar
Campion, T.A new way of making fowre parts in counterpoint, London, Snodham, c. 1618; reprint in Campion’s Works, ed. Vivian, P., Oxford, Clarendon Press, 1909 and 1966CrossRefGoogle Scholar
Caus, S.Institution harmonique, Frankfurt, Norton, 1615; facs. New York, Broude, 1969Google Scholar
Cerreto, S.Della prattica musica vocale et strumentale, Naples, Carlino, 1601; facs. Bologna, Forni, 1969Google Scholar
Christensen, T.The Règle de l’Octave in Thorough-bass Theory and Practice,” Acta 64 (1992)Google Scholar
Christensen, T.The Spanish Baroque Guitar and Seventeenth-Century Triadic Theory,Journal of Music Theory, New Haven, Yale University Press, 195736 (1992)Google Scholar
Cohen, A.La Supposition and the Changing Concept of Dissonance in Baroque Theory,” Journal of the American Musicological Society, University of Chicago Press, et al., 194824 (1971)Google Scholar
Cohen, A.Survivals of Renaissance Thought in French Theory 1610–1670: A Bibliographic Study,” in Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. LaRue, J., New York, Norton, 1966Google Scholar
Cohen, A.Symposium on Seventeenth-Century Music Theory: France,Journal of Music Theory, New Haven, Yale University Press, 195716 (1972)Google Scholar
Cooper, B.Englische Musiktheorie im 17. und 18. Jahrhundert, Geschichte der Musiktheorie, 10 of 15 vols. to date Zaminer, F., Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschafliche Buchgessellschaft, 19849 (1986)Google Scholar
Bryant, D. as Music in the Seventeenth Century, Cambridge University Press, 1987Google Scholar
Dahlhaus, C.Untersuchungen über die Entstehung der harmonischen Tonalität, Kassel, Bärenreiter, 1968; trans.Google Scholar
Damschroder, D. and Williams, D., eds., Music Theory from Zarlino to Schenker, Stuyvesant, NY, Pendragon, 1990Google Scholar
Degli Antonii, G. B.Versetti per tutti li tuoni naturali, come trasportati per l’organo, Op. 2, Bologna, Monti, 1687Google Scholar
Denis, J.Traité de l’accord de l’espinette, auec la comparaison de son clauier à la musique vocale, Paris, Ballard, 1650; trans. Panetta, V. as Treatise on Harpsichord Tuning by Jean Denis, Cambridge University Press, 1987CrossRefGoogle Scholar
Diruta, G.Il Transilvano, 2 vols. Venice, G. and Vincenti, A., 1593–1609; facs. Bologna, Forni, 1969 and 1997; trans. Bradshaw, M. and Soehnlen, E. as The Transylvanian, Henryville, PA, Institute of Mediaeval Music, 1984Google Scholar
Federhofer, H.Eine Musiklehre von J. J. Prinner,” in Festschrift Alfred Orel zum 70. Geburtstag, ed. Federhofer, Vienna, Rohrer, 1960Google Scholar
Marco, G. as The Art of Counterpoint, New Haven, Yale University Press, 1968Google Scholar
Gallo, F. A., Groth, R., Palisca, C. V., and Rempp, F., Italienische Musiktheorie im 16. und 17. Jahrhundert: Antikenrezeption und Satzlehre, Geschichte der Musiktheorie, 10 of 15 vols. to date, ed. Zaminer, F., Staatliches Institut für Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschafliche Buchgessellschaft, 19847 (1989)Google Scholar
Gasparini, F.L’armonico pratico al cimbalo, Venice, Bortoli, 1708; facs. New York, Broude, 1967; trans. Stillings, F. as The Practical Harmonist at the Harpsichord, New Haven, Yale University Press, 1963Google Scholar
Glarean, H.Dodecachordon, Basel, H. Petri, 1547; facs. Hildesheim, G. Olms, 1969, and New York, Broude, 1967; trans. Miller, C., Musicological Studies and Documents, ed. Carapetyan, A., American Institute of Musicology, Neuhausen-Stuttgart, Hänssler, 19576 (1965)Google Scholar
Hall, M.The Guitarra Española of Joan Carles Amat,” Early Music 6 (1978)Google Scholar
Harnisch, O. S.Artis musicae delineatio, Frankfurt, Stein, 1608Google Scholar
Heinichen, J. D.Der General-Bass in der Composition, Dresden, Heinichen, 1728; facs. Hildesheim, G. Olms, 1994Google Scholar
Heinichen, J. D.Neu erfundene und gründliche Anweisung, Hamburg, Schiller, 1711Google Scholar
Herbst, J.Musica poetica sive compendium melopoëticum, Nuremberg, Dümler, 1643Google Scholar
Holder, W.Treatise of the natural grounds and principles of harmony, London, Heptinstall, 1694; facs. New York, Broude, 1967Google Scholar
Horsley, I.Symposium on Seventeenth-Century Music Theory: Italy,” Journal of Music Theory, New Haven, Yale University Press, 195716 (1972)Google Scholar
Howell, A.French Baroque Organ Music and the Eight Tones,Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 11 (1958)Google Scholar
Howell, A.Symposium on Seventeenth-Century Music Theory: Spain,Journal of Music Theory, New Haven, Yale University Press, 1957–, 16 (1972)Google Scholar
Hudson, R.The Concept of Mode in Italian Guitar Music during the First Half of the 17th Century,” Acta 42 (1970)Google Scholar
Janowka, T.Clavis ad thesaurum magnae artis musicae, Prague, Labaun, 1701Google Scholar
Johnson, T.Solmization in the English Treatises Around the Turn of the Seventeenth Century: A Break from Modal Theory,Theoria 5 (1990)Google Scholar
La, Voye-Mignot. Traité de la musique, Paris, Ballard, 1656; trans. Gruber, A. as Treatise on Music, Brooklyn, Institute of Mediaeval Music, 1972Google Scholar
LeBegue, N.Les pièces de clavessin, Paris, Baillon, 1677; ed. Dufourcq, N. as Œuvres de clavecin, Monaco, Oiseau-Lyre, 1956Google Scholar
Lester, J.Between Modes and Keys: German Theory, 1592–1802, Stuyvesant, NY, Pendragon Press, 1989Google Scholar
Lippius, J.Synopsis musicae novae, Strassburg, K. Kieffer, 1612; trans. Rivera, B. as Synopsis of New Music, Colorado Springs, Colorado College Music Press, 1977Google Scholar
Locke, M.Melothesia: or, certain general rules for playing upon a continued bass, London, Carr, 1673; facs. New York, Broude, 1975Google Scholar
Loulié, E.Eléments ou principes de la musique, Paris, Ballard, 1696; facs. Geneva, Minkoff, 1971; trans. Cohen, A. as Elements or Principles of Music, New York, Institute of Mediaeval Music, 1965Google Scholar
Maillart, P.Les tons, ou discours, sur les modes de musique, et les tons de l’eglise, et la distinction en iceux, Tournai, Martin, 1610; facs. Geneva, Minkoff, 1972Google Scholar
Martín y Coll, A.Arte de canto llano, y breve resumen de sus principales reglas, Madrid, García, 1714Google Scholar
Masson, C.Nouveau traité des règles pour la composition de la musique, Paris, Ballard, 1694; facs. New York, Da Capo, 1967Google Scholar
Matteis, N.The false consonances of musick; or instructions for the playing of a true bass upon the guitarre, London, 1682; facs. ed. Tyler, J., Monaco, Chanterelle, 1980Google Scholar
Mattheson, J.Das neu-eröffnete Orchestre, Hamburg, B. Schiller, 1713; facs. Hildesheim, G. Olms, 1997Google Scholar
Meier, B.Die Tonarten der klassichen Vokalpolyphonie, nach den Quellen dargestellt, Utrecht, Oosthoek, Scheltema, and Holkema, 1974; trans. Beebe, E. as The Modes of Classical Vocal Polyphony, New York, Broude, 1988Google Scholar
Menehou, M.Nouvelle instruction familière, en laquelle sont contenus les difficultés de la musique, avecques le nombre des concordances, et accords: ensemble la manière d’en user, tant à deux, à trois, à quatres, qu’à cinq parties: nouvellement composée par Michel de Menehou, maistre des enfans de chœur de l’église Sainct Maur des fossez, lez Paris..., Paris, Nicolas du Chemin, 1558.Google Scholar
Mersenne, M.Harmonie universelle, Paris, S. Cramoisy, 1636–37; facs. Paris, Centre National de la Recherche Scientifique, 1963 and 1986Google Scholar
Millet, J.La belle methode, ou l’art de bien chanter, Lyons, Gregoire, 1666; facs. New York, Da Capo, 1973Google Scholar
Morley, T.A plaine and easie introduction to practicall musicke, London, Short, 1597; facs. New York, Da Capo, 1969Google Scholar
Dolmetsch, N. as “Jean Rousseau’s Traité de la viole 1687,Consort 33 (1977); 34 (1978); 36 (1980); 37 (1981); 38 (1982)Google Scholar
Nelson, B.Alternatim Practice in 17th-century Spain,Early Music 22 (1994)Google Scholar
Nivers, G.Livre d’orgue contenant cent pieces de tous les tons de l’eglise, Paris, Ballard, 1665Google Scholar
Nivers, G.Traité de la composition de musique, Paris, Ballard, 1667; trans.Google Scholar
Owens, J. A.Concepts of Pitch in English Music Theory,” in Tonal Structures in Early Music, ed. Judd, C., New York, Garland, 1998Google Scholar
Parran, A.Traité de la musique théorique et pratique, Paris, Ballard, 1639Google Scholar
Penna, L.Li primi albori musicali, Bologna, Monti, 1672; facs. Bologna, Forni, 1969Google Scholar
Playford, J.An Introduction to the skill of musick, 7th edn., London, Playford, 1674; facs. Ridgewood, NJ, Gregg, 1966Google Scholar
Ponzio, P.Ragionamento di musica, Parma, Viotto, 1588; facs. Kassel, Bärenreiter, 1959Google Scholar
Powers, H. S.From Psalmody to Tonality,” in Tonal Structures in Early Music, ed. Judd, C., New York, Garland, 1998Google Scholar
Powers, H. S.Is Mode Real? Pietro Aron, the Octenary system, and Polyphony,Basler Jahrbuch für Historische Musikpraxis, 16 (1992)Google Scholar
Gjerdingen, R. as Studies on the Origin of Harmonic Tonality, Princeton University Press, 1990Google Scholar
Rivera, B.German Music Theory in the Early 17th Century: The Treatises of Johannes Lippius, Ann Arbor, UMI Research Press, 1974Google Scholar
Rousseau, J.Méthode claire, certaine et facile pour apprendre à chanter la musique, Paris, Rousseau, 1683Google Scholar
Rousseau, J.Traité de la viole, Paris, Ballard, 1687; facs. Amsterdam, Antiqua, 1965; trans. in five parts byGoogle Scholar
Sabbatini, G.Regola facile, e breve per sonare sopra il basso continuo, Venice, A. Vincenti, 1628Google Scholar
Sabbatini, P.Toni ecclesiastici colle sue intonationi, all’uso romano. Modo per sonare il basso continuo, Rome, Grignani, 1650Google Scholar
Scacchi, M.Cribrum musicum ad triticum Siferticum, Venice, A. Vincenti, 1643Google Scholar
Seidel, W.Französische Musiktheorie im 16. und 17. Jahrhundert, Geschichte der Musiktheorie, 10 of 15 vols. to date, ed. Zaminer, F., Staatliches Institut fr Musikforschung Preussischer Kulturbesitz Berlin, Darmstadt, Wissenschaftliche Buchgessellschaft, 19849 (1986)Google Scholar
Siefert, P.Anticribratio musica ad avenam Schachianam, Gdansk, Rhetius, 1645Google Scholar
Simpson, C.A compendium of practical music, 2nd edn., London, Godbid, 1667; ed. Lord, P., Oxford, Blackwell, 1970Google Scholar
Simpson, C.A compendium of practical music, 4th edn., London, Pearson, 1706Google Scholar
Tevo, Z.Il musico testore, Venice, Bortoli, 1706; facs. Bologna, Forni, 1969Google Scholar
Tilton, M.The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo,Theoria 4 (1989)Google Scholar
Titelouze, J.Le Magnificat ou cantique de la Vierge pour toucher sur l’orgue, suivant les huit tons de l’Eglise, Paris, Ballard, 1626Google Scholar
Tolkoff, L.French Modal Theory Before Rameau,Journal of Music Theory, New Haven, Yale University Press, 195717 (1973)Google Scholar
Van Wye, B.Ritual Use of the Organ in France,Journal of the American Musicological Society, University of Chicago Press, et al., 1948– 33 (1980)Google Scholar
Walker, P.From Renaissance ‘Fuga’ to Baroque Fugue: The Role of the ‘Sweelinck Theory Manuscripts,’Schütz-Jahrbuch (1986)Google Scholar
Walker, P.Theories of Fugue from the Age of Josquin to the Age of Bach, Rochester, NY, University of Rochester Press, 2000.Google Scholar
Walter, T.The grounds and rules of musick explained, or, an introduction to the art of singing by note fitted to the meanest capacities, Boston, Franklin, 1721Google Scholar
Werckmeister, A.Die nothwendigsten Anmerckungen und Regeln wie der Bassus Continuus, Aschersleben, Struntze, 1698; facs. Michaelstein, Kultur- und Forschungsstätte Michaelstein, 1985Google Scholar
Werckmeister, A.Erweiterte und verbesserte Orgel-Probe, Quedlinburg, Calvisius and Sievert, 1698; facs. Kassel, Bärenreiter, 1970Google Scholar
Werckmeister, A.Musicalische Paradoxal-Discourse, Quedlinburg, Calvisius, 1707; facs. Hildesheim, G. Olms, 1972Google Scholar
Zarlino, G.Le istitutioni harmoniche, Venice, Franceschi, 1558; facs. New York, Broude, 1965; trans.of PartIV by Cohen, V. as On the Modes, New Haven, Yale University Press, 1983
Zarlino, G.Le istitutioni harmoniche, rev. edn., Venice, Franceschi, 1573; facs. Ridgewood, NJ, Gregg, 1966Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×