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Renaissance Interval-Succession Theory: Treatises and Analysis.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Renaissance Interval-Succession Theory: Treatises and Analysis./
作者:	Morgan, Alexander.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	219 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Middle Ages. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28250339
ISBN:	9798582596561

Renaissance Interval-Succession Theory: Treatises and Analysis.
Morgan, Alexander.

Renaissance Interval-Succession Theory: Treatises and Analysis. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 219 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2016.

This item must not be sold to any third party vendors.

Interval-succession treatises convey idiomatic polyphony by explaining what vertical intervals between two voices could follow one another in improvisation and counterpoint, as connected by specified melodic motions. They were the primary means of the transmission of contrapuntal teaching in treatises for centuries. This dissertation is the first to take a comprehensive, computer-assisted approach to the study of these treatises' numerous examples. I focus on the interval-succession lists in book I of Johannes Tinctoris's Liber de arte contrapuncti (1477), and in book II of Pietro Pontio's Ragionamento di musica (1588). By comparing Tinctoris's list of 768 interval successions to the theoretical list of all the successions that follow his five explicitly-stated voice-leading principles, I refute the commonly-held misconception that Tinctoris's list is exhaustive. In my examination of the 167 interval successions that respect all of Tinctoris's explicit constraints, yet that he omits from his list, I uncover nine tacit voice-leading principles that all of Tinctoris's successions respect despite the fact that he does not explicitly state them.This study is also the first in-depth examination of the contrapuntal teaching found in Pontio's list of 123 interval successions. I draw attention to the multitude of contextual enrichments that he brings to the theoretical genre, the most significant of which is the inclusion of dissonance directly into interval-succession theory. I expose the tacit theoretical assumptions and analytical methods that are apparent in his interval-succession examples when considered together as a coherent whole. Well-known for the numerous repertoire references that Pontio makes to his own and other composers' works, I show that his approach to interval-succession theory is more akin to teaching through the use of commonplaces than through the memorization of tables of numerous examples. My examination of Tinctoris and Pontio's interval-succession treatises culminates in a comparison of their theoretical and pedagogic approaches. An appendix provides a transcription of all the examples from book II of Pontio's treatise.I draw on these newly-uncovered facets of Tinctoris and Pontio's intervallic thinking and some important concepts from Nicola Vicentino and Joachim Burmeister's treatises to problematize the discernment of structural tones in a contrapuntal passage. These authors highlight important points to consider, but do not offer a viable approach to counterpoint reduction. I develop Ruth DeFord's (2015) theoretical discussions of her terms "compositional tactus" and "contrapuntal rhythm" into a historically-informed method of determining the structural tones of Renaissance counterpoint. An automated implementation of this approach, which I call the dynamic-offset method, can be used to reduce a contrapuntal passage, or to more generally characterize its rhythmic profile. It is made freely available online as part of the VIS Framework (Vertical Interval Successions) for music analysis of scores in symbolic notation. This music-analysis framework is a tool open to music researchers looking to make empirical observations about a piece or corpus of music. By taking my research on Renaissance interval-succession treatises into account in the computational tools I have created, my research findings and new analysis methods are made available to other researchers both in written form in my dissertation, and as computational tools in the VIS Framework.

ISBN: 9798582596561Subjects--Topical Terms:

568537
Middle Ages.
Subjects--Index Terms:

Interval-succession treatises

Renaissance Interval-Succession Theory: Treatises and Analysis.
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100 1 $a Morgan, Alexander. $3 3556287
245 1 0 $a Renaissance Interval-Succession Theory: Treatises and Analysis.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 219 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
500 $a Advisor: Cumming, Julie Emelyn;Schubert, Peter N.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2016.
506 $a This item must not be sold to any third party vendors.
520 $a Interval-succession treatises convey idiomatic polyphony by explaining what vertical intervals between two voices could follow one another in improvisation and counterpoint, as connected by specified melodic motions. They were the primary means of the transmission of contrapuntal teaching in treatises for centuries. This dissertation is the first to take a comprehensive, computer-assisted approach to the study of these treatises' numerous examples. I focus on the interval-succession lists in book I of Johannes Tinctoris's Liber de arte contrapuncti (1477), and in book II of Pietro Pontio's Ragionamento di musica (1588). By comparing Tinctoris's list of 768 interval successions to the theoretical list of all the successions that follow his five explicitly-stated voice-leading principles, I refute the commonly-held misconception that Tinctoris's list is exhaustive. In my examination of the 167 interval successions that respect all of Tinctoris's explicit constraints, yet that he omits from his list, I uncover nine tacit voice-leading principles that all of Tinctoris's successions respect despite the fact that he does not explicitly state them.This study is also the first in-depth examination of the contrapuntal teaching found in Pontio's list of 123 interval successions. I draw attention to the multitude of contextual enrichments that he brings to the theoretical genre, the most significant of which is the inclusion of dissonance directly into interval-succession theory. I expose the tacit theoretical assumptions and analytical methods that are apparent in his interval-succession examples when considered together as a coherent whole. Well-known for the numerous repertoire references that Pontio makes to his own and other composers' works, I show that his approach to interval-succession theory is more akin to teaching through the use of commonplaces than through the memorization of tables of numerous examples. My examination of Tinctoris and Pontio's interval-succession treatises culminates in a comparison of their theoretical and pedagogic approaches. An appendix provides a transcription of all the examples from book II of Pontio's treatise.I draw on these newly-uncovered facets of Tinctoris and Pontio's intervallic thinking and some important concepts from Nicola Vicentino and Joachim Burmeister's treatises to problematize the discernment of structural tones in a contrapuntal passage. These authors highlight important points to consider, but do not offer a viable approach to counterpoint reduction. I develop Ruth DeFord's (2015) theoretical discussions of her terms "compositional tactus" and "contrapuntal rhythm" into a historically-informed method of determining the structural tones of Renaissance counterpoint. An automated implementation of this approach, which I call the dynamic-offset method, can be used to reduce a contrapuntal passage, or to more generally characterize its rhythmic profile. It is made freely available online as part of the VIS Framework (Vertical Interval Successions) for music analysis of scores in symbolic notation. This music-analysis framework is a tool open to music researchers looking to make empirical observations about a piece or corpus of music. By taking my research on Renaissance interval-succession treatises into account in the computational tools I have created, my research findings and new analysis methods are made available to other researchers both in written form in my dissertation, and as computational tools in the VIS Framework.
520 $a Les traites de suites d'intervalles enseignent les idiomes de la polyphonie en expliquant les intervalles pouvant s'enchainer dans l'improvisation et dans la composition, telles que connectees par des mouvements melodiques precis. Ces traites ont ete, pendant des siecles, le principal moyen de transmettre l'art du contrepoint. Cette these est la premiere a adopter une approche systematique et assistee par l'ordinateur pour l'analyse des nombreux exemples de ces traites. Mon etude porte specifiquement sur les listes de suites d'intervalles incluses dans le premier livre du Liber de arte contrapuncti (1477) de Johannes Tinctoris, et dans le deuxieme livre de Ragionamento di musica (1588) de Pietro Pontio. En comparant la liste des 768 suites d'intervalles de Tinctoris a la liste theorique de toutes les suites qui respectent ses cinq principes de maniement de voix explicitement developpes dans son traite, je refute l'idee fausse mais courante que son inventaire est exhaustif. Dans mon analyse des 167 enchainements d'intervalles qui se conforment a toutes les contraintes explicites de Tinctoris mais qu'il a omis de sa liste, j'ai decouvert dix principes tacites de maniement des voix que toutes ses suites d'intervalles respectent, bien qu'il ne les mentionne pas explicitement.Cette etude constitue le premier examen en profondeur de l'enseignement pedagogique fait a partir de la liste des 123 suites d'intervalles identifiees par Pontio. Je souligne la multitude d'enrichissements contextuels qu'il apporte au genre theorique, le plus important etant l'inclusion de la dissonance directement dans sa theorie des suites d'intervalles. J'expose les suppositions tacites de son approche et de ses methodes d'analyse qui sont apparentes dans ses exemples de suites intervalliques lorsque considerees comme un tout coherent. Bien connu pour les nombreuses references a ses propres oeuvres et a celles d'autres compositeurs, je montre que l'approche de Pontio concernant la theorie des suites d'intervalles est plus semblable a l'enseignement avec des lieux communs qu'a celui fonde dans la memorisation de tables de nombreux exemples. Mon examen des traites de suites d'intervalles de Tinctoris et Pontio aboutit ainsi a une comparaison de leurs approches theoriques et pedagogiques. Une annexe fournit une transcription de tous les exemples du deuxieme livre du traite de Pontio.Je puise dans ces facettes nouvellement decouvertes de la pensee intervallique de Tinctoris et Pontio et dans les traites de Nicola Vicentino et Joachim Burmeister afin de problematiser le discernement des notes structurales dans un passage de contrepoint. Ces auteurs soulignent beaucoup d'elements importants a considerer, sans toutefois offrir une approche viable pour la reduction contrapuntique. Je developpe la discussion theorique de Ruth DeFord (2015) a propos de ses termes « tactus de composition » et « rythme contrapuntique » en utilisant une methode historiquement informee qui determine les notes structurales dans le contrepoint de la Renaissance. Une mise en oeuvre automatisee de cette approche, que j'appelle le « dynamic-offset method », peut etre employee pour reduire un passage contrapuntique, ou pour caracteriser son profil rythmique de facon plus generale. Cet outil est librement disponible en tant que partie du VIS Framework pour l'analyse musicale d'oeuvres en notation symbolique. Ce logiciel d'analyse est mis a la disposition des chercheurs en musique qui souhaitent faire des observations empiriques a propos d'un morceau ou d'un corpus. En prenant en compte ma recherche sur les traites de suites d'intervalles de la Renaissance dans la creation de ces outils d'analyse, mes conclusions et nouvelles methodes d'analyses sont disponibles aux autres chercheurs dans cette these, et aussi comme outils numeriques dans le VIS Framework.
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