Jump to ContentJump to Main Navigation
Modal SubjectivitiesSelf-Fashioning in the Italian Madrigal$
Users without a subscription are not able to see the full content.

Susan McClary

Print publication date: 2004

Print ISBN-13: 9780520234932

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520234932.001.0001

Show Summary Details
Page of

PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use (for details see www.california.universitypressscholarship.com/page/535/privacy-policy-and-legal-notice).date: 16 November 2018

I modi

I modi

Chapter:
(p.194) Nine I modi
Source:
Modal Subjectivities
Author(s):

Susan McClary

Publisher:
University of California Press
DOI:10.1525/california/9780520234932.003.0009

Mode first developed as a pragmatic means of sorting into categories the liturgical music that had long circulated through the oral tradition. At the same time that scholastic music theorists were formulating modal theory, their colleagues were embarking on a new set of practices involving two or more simultaneously sounding voices: polyphony. The next generation of music theorists, however, began to interrogate the music composed by their own contemporaries. As free composition came to the fore, theorists returned to the question of mode, now explicitly as it pertained to the musics of their own moment. Three theorists of polyphonic mode—Pietro Aron, Heinrich Glareanus, and Gioseffo Zarlino—do not concur on all details: Aron persists with the traditional eight categories, Glareanus increases the number to twelve, Zarlino adopts (without citation) Glareanus's twelve but changes the principle of numbering. This chapter examines the various modes individually, following the lead of Renaissance theorists in offering a smattering of pieces belonging to each of the modes—in this case, the very madrigals tackled earlier.

Keywords:   mode, music, polyphony, Pietro Aron, Heinrich Glareanus, Gioseffo Zarlino, categories, madrigals, Renaissance

California Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.