Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler

Title:
Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler
Authors:
Long, Megan Kaes
Abstract:
In 1595 Thomas Morley published The First Booke of Balletts, a collection of "Italian madrigals Englished." Rather than writing English words for unaltered Italian works as his predecessors had done, Morley created original compositions loosely modeled on Italian works. Analysis of Morley's balletts reveals four primary "Englishing" techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pie-dominant chords at cadences (yielding tonic pie-dominant dominant tonic syntax( more regularly than his models do. Finally, in the rare instances that he chooses models without periodic phrase structure, Morley introduces periodicity. Morley's recompositions contribute to the tonal sound that, historically, scholars have identified with the English madrigal. To situate this repertoire in relation to repertoires we more commonly identify as tonal, this article introduces the notion of characteristic tonality, an inclusive concept that provides a vocabulary for analyzing and distinguishing among repertoires with tonal features. To demonstrate the utility of characteristic tonality, the article concludes by comparing the tonal language of German-texted balletts by Hans Leo Hassler with those of Morley and his Italian models. These three repertoires manifest tonal characteristics in richly multifaceted ways; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century.
Citation:
Long, Megan Kaes. 2015. "Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler." Journal of Music Theory 59(2): 235-271.
Publisher:
Duke University Press
DATE ISSUED:
2015-10
Department:
Music Theory
Type:
Article
PUBLISHED VERSION:
10.1215/00222909-3136010
Additional Links:
http://jmt.dukejournals.org/content/59/2/235.full.pdf+html
PERMANENT LINK:
http://hdl.handle.net/11282/593524

Full metadata record

DC FieldValue Language
dc.contributor.authorLong, Megan Kaesen
dc.date.accessioned2016-01-15T13:17:16Zen
dc.date.available2016-01-15T13:17:16Zen
dc.date.issued2015-10en
dc.identifier.citationLong, Megan Kaes. 2015. "Characteristic Tonality in the Balletti of Gastoldi, Morley, and Hassler." Journal of Music Theory 59(2): 235-271.en
dc.identifier.issn0022-2909en
dc.identifier.urihttp://hdl.handle.net/11282/593524en
dc.description.abstractIn 1595 Thomas Morley published The First Booke of Balletts, a collection of "Italian madrigals Englished." Rather than writing English words for unaltered Italian works as his predecessors had done, Morley created original compositions loosely modeled on Italian works. Analysis of Morley's balletts reveals four primary "Englishing" techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pie-dominant chords at cadences (yielding tonic pie-dominant dominant tonic syntax( more regularly than his models do. Finally, in the rare instances that he chooses models without periodic phrase structure, Morley introduces periodicity. Morley's recompositions contribute to the tonal sound that, historically, scholars have identified with the English madrigal. To situate this repertoire in relation to repertoires we more commonly identify as tonal, this article introduces the notion of characteristic tonality, an inclusive concept that provides a vocabulary for analyzing and distinguishing among repertoires with tonal features. To demonstrate the utility of characteristic tonality, the article concludes by comparing the tonal language of German-texted balletts by Hans Leo Hassler with those of Morley and his Italian models. These three repertoires manifest tonal characteristics in richly multifaceted ways; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century.en
dc.language.isoen_USen
dc.publisherDuke University Pressen
dc.identifier.doi10.1215/00222909-3136010en
dc.relation.urlhttp://jmt.dukejournals.org/content/59/2/235.full.pdf+htmlen_US
dc.subject.departmentMusic Theoryen_US
dc.titleCharacteristic Tonality in the Balletti of Gastoldi, Morley, and Hassleren_US
dc.typeArticleen
dc.identifier.journalJournal of Music Theoryen
dc.identifier.volume59en_US
dc.identifier.issue2en_US
dc.identifier.startpage235en_US
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