...Stefano Mengozzi Timothy R. McKinney Adrian Willaert and the Theory of Interval Affect: The Musica Nova Madrigals and the Novel Theories of Zarlino and Vicentino Ashgate, 2010: xiii + 318 pp. $119.95 cloth Stefano Mengozzi Adrian Willaert (ca. 1490–1562) took on the prestigious...

...: Editions of Italian Canzonets and Madrigals, 1597 and 1598.” Ph.D. diss. , Florida State University . Newcomb Anthony . 2007 . “Recurring Patterns with a Structural Function in Marenzio—or, Marenzio's Riffs.” In Luca Marenzio e il madrigale romano , ed. Piperno Franco , 115 – 43...

... leading tones, and (3) chromatically thwarted leading tones. For each type, the article discusses representative examples drawn from motets and madrigals by Orlando di Lasso, Giaches de Wert, Luca Marenzio, Luzzasco Luzzaschi, Alfonso Fontanelli, and Carlo Gesualdo, and considers how the chromatic...

... Dialogo della musica (1544), is a unique pub- lication by all accounts. The title page of the canto partbook is reproduced in Figure 1.8 The text of the conversational dialogue appears only in the canto partbook, with a series of madrigals interspersed, as illustrated by the opening reproduced...

... case for associating integrated metric shifts with the dissociation of meter from tempo and character in the late eighteenth and early nineteenth centuries, yet looking back further, we can find similar techniques in the music of the sixteenth century. Countless madrigals shift between what...

... in Psychology 8: 1314. doi .org/10.3389/fpsyg.2017.01314. Maus, Fred Everett. 1989. Agency in Instrumental Music and Song. College Music Symposium 29: 31 43. McClary, Susan. 2004. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley: University of California Press. Merleau-Ponty, Maurice...

... artificialis) produced by humans. Oselletto selvaggio per stagione, set both as a two-voice madrigal and as a three-voice caccia by the fourteenth-century Italian composer Jacopo da Bologna, compares the songs of a wood bird (presumably...

.... Second, one also finds passages in which notated chromatic semitones occur in completely diatonic progressions. The best known of these comes fromJMT 53:2 Luca A-RMarenzio’s Job 149-8 madrigal Adams O Examplevoi che sospirate 2 a miglior note (1581), in which...

... is it surprising to find that process perception concerning rhythm as meter should seem to lend itself to coherent verbal narrative more easily when classical tonal music (Haydn, Beethoven) is concerned than when modal motets and madrigals, or post-tonal works, are brought under review. Brief, inevitably...

... to Schenker are taken by means of Gestalt psychology (after 1890) and Arnold Schering’s notion of Dekolorieren (“disembellishment,” 1911–12) as applied to the 14th-century Italian madrigal. Ernst Kurth’s 1917 book Grundlagen des linearen Kontra- punkts, which enshrined the idea of polyphonic melody...

... to uncover motivic relations in Webern’s op. 17. Crumb’s Verte desnuda es recordar la tierra (To see you naked is to remember the earth), from Madrigals, Book 1, provides a case in point. The piece be- gins with the <–6 +13> three-note shape/interval motive bracketed in m. 1 of Ex. 16. A transposed...

... ¢ J ‰ œJ œ ‰ Œ œ Œ Œ 3 3 Example 7.  Schnittke, Three Madrigals (1980), no. 3, “Reflection,” mm. 9–12. Text by Francisco Tanzer. © 1980 by G. Schirmer, Inc. International copyright secured...

... addressed” (2007, 1). This state of affairs is gradually changing. Recently, David Metzer (2006) explored the use of silence in modernist music, and Ellen Harris (2005) traced early precedents for Handel’s uses of silence in the madrigal and Corelli Trio Sonatas. This arti- cle looks at repertoire...

... mutually have, on the one hand, features in common, and on the other hand, different features which are suited to placing them in distinct categories. The motet, frottola, villanella, madrigal, praeambulam, ricercar, sonata, suite, symphony (in the modern sense), etc., belong...

.... Beginning with the motets, chansons, and madrigals of the sixteenth century, and continuing into the nineteenth and twentieth centuries, some composers included among their composi- tional goals a desire to achieve dramatic effect. It is not surprising, there- fore, that narrative organization begins...

...), the general theory might inform analysis of an isorhythmic motet, Monteverdi madrigal, or a North Indian raga impro- visation; or an analysis of features of the galant style, a neo-Riemannian approach to the analysis of late nineteenth-century chromatic harmony, or a comparative study of sonic...