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[null,"1.","Record Nr.",null,"UNINA9910957452103321"]
[null,null,"Autore",null,"McKinney Timothy R. <1956-, >"]
[null,null,"Titolo",null,"Adrian Willaert and the theory of interval affect : the Musica nova madrigals and the novel theories of Zarlino and Vicentino / / Timothy R. McKinney"]
[null,null,"Pubbl/distr/stampa",null,"London ; ; New York : , : Routledge, , 2016"]
[null,null,"ISBN",null,"1-317-18532-3"]
[{"$nulls":4},"1-317-18531-5"]
[{"$nulls":4},"1-315-56567-6"]
[{"$nulls":4},"1-282-64335-5"]
[{"$nulls":4},"9786612643354"]
[{"$nulls":4},"0-7546-9672-3"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (337 p.)"]
[null,null,"Disciplina",null,"782.0092"]
[null,null,"Soggetti",null,"Madrigals, Italian - Italy - 16th century - History and criticism"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","\"An Ashgate book\"--Cover."]
[{"$nulls":4},"First published 2010 by Ashgate Publishing."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Cover; 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"]
[null,null,null,"Sommario/riassunto","The '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"]