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100   $a20180706e20162010  uy         0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aAdrian Willaert and the theory of interval affect $ethe Musica nova madrigals and the novel theories of Zarlino and Vicentino /$fTimothy R. McKinney
205   $a1st ed.
210  1$aLondon ;$aNew York :$cRoutledge,$d2016.
215   $a1 online resource (337 p.)
300   $a"An Ashgate book"--Cover.
300   $aFirst published 2010 by Ashgate Publishing.
311 08$a0-7546-6509-7 
320   $aIncludes bibliographical references and index.
327   $aCover; Contents; List of Tables; List of Musical Examples; Acknowledgements; 1 Contexts; 2 Definition, Evaluation, and Validation of the Theory of Interval Affect; 3 Expressive Functions of Harmony in the Musica nova Madrigals; 4 Willaert's Other Madrigals and the Theory of Interval Affect; 5 The Compositional Legacy of Willaert's Theory of Interval Affect; Select Bibliography; Index
330   $aThe 'theory of interval affect' originates not with Nicola Vicentino or Gioseffo Zarlino, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extra musical ideas. For Willaert, the appellations 'major' and 'minor' no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a sha
606   $aMadrigals, Italian$zItaly$y16th century$xHistory and criticism
615  0$aMadrigals, Italian$xHistory and criticism.
676   $a782.0092
700   $aMcKinney$b Timothy R.$f1956-,$01880683
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910957452103321
996   $aAdrian Willaert and the theory of interval affect$94494787
997   $aUNINA