Greg Barnett - Bellagio Presentation

427 views
382 views

Published on

Greg Barnett, Professor of Musicology, Rice University presentation: Emblems of Authority - The Modes in Italian Baroque Music (video is available on YouTube at http://www.youtube.com/watch?v=WHByemg1ZDY

1 Comment
0 Likes
Statistics
Notes
  • Be the first to like this

No Downloads
Views
Total views
427
On SlideShare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
3
Comments
1
Likes
0
Embeds 0
No embeds

No notes for slide

Greg Barnett - Bellagio Presentation

  1. 1. Emblems of Authority:The Modes in Italian Baroque Music
  2. 2. Rome, Theater of Marcellus (13 BCE)
  3. 3. Emblems of Authority:The Modes in Italian Baroque Music
  4. 4. The Nicene CreedCredo in unum Deum, Patrem omnipotentem,I believe in one God, the Father almighty,factorem coeli et terrae,maker of heaven and of earth,visibilium omnium, et invisibilium.and of all things visible and invisible.—J. S. Bach, Messe in h moll (late 1740s)—Guillaume de Machaut, Messe de Nostre Dame (early 1360s)
  5. 5. Antonio Vivaldi, Stabat Mater (1712)Stabat Mater dolorosa iuxta crucem lacrimosa dum pendebat FiliusThe grieving Mother stood weeping beside the cross where her Son was hanging...Quis non posset contristari Christi Matrem contemplari dolentum cum filio?Who could not be sorrowful to behold the pious Mother grieving with her Son?
  6. 6. Camillo Angleria, La regola del contraponto edella musical compositione (Milan, 1622):Molti hanno scritto della formatione, & Many have written about the formation andcognitione de’ Tuoni, mà l’uno dall’altro recognition of the modes, but there is confusionconfusamente; & per questo molti non among them; and, because of this, many cannotintendono di che Tuono sia una Cantilena in perceive the mode of a composition when theyvederla, e manco in sentirla solamente. see it, and much less when only hearing it.Giovanni Maria Bononcini, Musico prattico(Venice, 1673):Il trattare de i Tuoni, ò Modi è materia assai A discussion of the tones, or modes, is quitedifficile per la diversità dell’opinioni, tanto difficult because of the diversity of opinions, asnel numero loro, quanto nel nome.... much about their number, as about their nomenclature.Zaccaria Tevo, Il musico testore (Venice,1706):Arduo, e molto difficile è il trattato de Tuoni, Treating the modes is arduous and very difficultper le molte discrepanze, che si trovano tra li because of the many discrepancies that oneScrittori, così Antichi, come Moderni. finds among writers, both ancient and modern.
  7. 7. Horace, Satirae I. I. 106-07:Est modus in rebus sunt certi denique fines: There are certain limits, beyond which, onQuos ultra citraque nequit consistere rectum. either side, nothing right can exist.Scipione Cerreto, Della prattica musicavocale et strumentale (Naples, 1601):Modo, altro non denota, che quella ragione, Mode denotes nothing other than that reason—cioè quella misura ò forma che adoperiamo by which I mean that measure or form—whichnel fare alcuna cosa, che poi ne astringe à we adopt in doing anything that constrains usragione. toward reason.Lorenzo Penna, Li primi albori musicali(Bologna, 1672):Senza la cognizione de’ Tuoni, procedereb- Without knowledge of the modes, the contra-be molto male il Contrapuntista e le sue puntist would be deprived of true order andCantilene sarebbero prive del vero ordine, e harmony. For this reason, since the ancientdovuta Armonia, perciò dalli Autori Antichi writers onward, the modes have been found, tofuron trovati li Tuoni, à Ciascheduno de’ qua- each of which were assigned proper pitchesli assegnaranno le proprie Corde, e Cadenze. and cadences.
  8. 8. Heinrich Glarean, Dodecachordon (Basle, 1547)
  9. 9. Heinrich Glarean, Dodecachordon (Basle, 1547)
  10. 10. Gioseffo Zarlino, Le istitutioni harmoniche (Venice, 1558)
  11. 11. Rocco Rodio, Regole di musica (Naples, 1609)
  12. 12. Camillo Angleria, La regola del contrapunto (Milan, 1622)
  13. 13. Silverio Picerli, Specchio secondo di musica (Naples, 1630)
  14. 14. Giovanni Maria Bononcini, Musico prattico (Bologna, 1673)
  15. 15. Zaccaria Tevo, Il musico testore (Venice, 1706)
  16. 16. F. A. Vallotti, Trattato dei tuoni, vol 2 (MS, 1735)
  17. 17. G. B. Martini, Storia della musica (Bologna, 1757)
  18. 18. Lorenzo Perti, Viglietto (1650s):tutta la Cantilena, e fatta senza modo, senza The whole piece is composed without mode,raggione, poco leggiadra, meno elegante, orba without reason, with little grace, less elegance,delle leggi, e de precetti de gl’eccelenti Mae- and is bereft of the laws and precepts of thestri da qual non si deve partire per haver quelli excellent masters from which one must notfinite, e limitate le buone Regole di questa depart if one is to follow the aims andmattematica scienza. Quali errori aspetti que- objectives of the good rules of thissto prima abboliti affatti mediante il sapere e mathematical science.le recondite regole, che V. S. à benefitio comu-ne possiede.Pierfrancesco Tosi, Opinioni de’ cantoriantichi, e moderni (Bologna, 1723):se la Professione deve esistere, e finir col If the profession is to continue, and end with theMondo, o voi stessi vi disingannerete, o lo world, either you yourselves will see yourriformeranno i vostri Successori; Sapete come? mistake, or your successors will reform it.Esiliando gli abusi; e richiamando il primo, il Would you know how? By banishing thesecondo, e il terzo Tuono per sollevare il quin- abuses; and recalling the first, second, andto, il sesto, e lottavo oppressi dalle fatiche: third modes to relieve the fifth, sixth, andFaranno risuscitare il quarto, e il settimo morti eighth, which are quite oppressed by theirper voi, e sepolti in Chiesa. labors. They will then revive the fourth and the seventh now dead to you, and buried in church.
  19. 19. Antonio Vivaldi, Juditha triumphans (1716)Vagaus (aria): Bagaos (aria):Armatae face, et anguibus Armed with your firebrands and serpents,a caeco regno squallido come forth from your dark, foul kingdom,furoris sociae barbari you cruel attendants.furiae venite ad nos. Furies, come to us!Morte, flagello, stragibus, In death, scourging, and slaughter,vindictam tanti funeris we will follow you:irata nostra pectora teach us, whose hearts are full of rage,duces docete vos. to avenge this murderous deed.

×