Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792632
Title: Between theory and practice : aspects of pitch organization in North Italian ensemble instrumental music, ca. 1610-1670
Author: Destribois, Clémence Théodora
ISNI:       0000 0004 8499 3838
Awarding Body: Royal Holloway, University of London
Current Institution: Royal Holloway, University of London
Date of Award: 2017
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Abstract:
This thesis examines aspects of the relationship between seventeenth-century theory and musical practice, with an emphasis on pitch organization in north Italian ensemble music, ca. 1610-1670. Rather than focusing on a single concept, it examines various aspects of pitch organization in that repertoire, with the aim of providing insights that will foster a more nuanced and historically informed analysis of seventeenth-century pitch organization. Chapter 1 introduces seventeenth-century concepts of hexachords and modes, emphasizing how various theorists sometimes use different approaches to describe the same concepts. The choice of cadence degrees and fugal answers in ensemble music ca. 1610-1630 is discussed in chapter 2, which looks for recurrent patterns and examines how the choice of cadence degrees and levels of imitation in opening fugues relate to seventeenth-century theories of mode, church tones, and hexachords. Chapter 3 focuses on seventeenth-century harmonic schemata (such as standardized bass-lines and techniques of cadential elaboration found in seventeenth-century continuo treatises) and shows how these can be used as an analytical tool to understand chord successions and their elaboration in the repertoire. Continuing the discussion of harmonic matters, Chapter 4 shows the method of modal-hexachordal analysis pioneered by Carl Dahlhaus for seventeenth-century music has in fact a firm historical basis; the collection of triads forming a harmonic hexachord on which a piece is based according to Dahlhaus's method corresponds to the six triads commonly used to harmonize a diatonic scale, which is extensively discussed in seventeenth-century continuo treatises. Chapter 5 addresses seventeenth-century modulation, showing how contemporaneous descriptions of scale transpositions must be taken into account, since they implicitly describe the mechanics of modulation (shifts of scale transpositions in the course of a piece). It also underscores the necessity of approaching seventeenth-century modulation from a variety of angles, with an awareness of harmonic as well as linear procedures. Finally, the last chapter explores the affective impact of pitch organization in ensemble works by Marco Uccellini and Maurizio Cazzati, in the light of rhetorical techniques and the seventeenth-century aesthetic of 'varietas'.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.792632  DOI: Not available
Keywords: Penna ; Bononcini ; Banchieri ; Diletskii ; Bianciardi ; Chafe ; Stein ; Dahlhaus ; Modulation ; Cadence ; Rhetoric ; Schemata ; Music Theory ; Seventeenth century ; Hexachord
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