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Don Harrán, Word-Tone Relations in Musical Thought: From Antiquity to the Seventeenth Century

MSD 40 Cover

Contents and Sample Pages (PDF)

MSD 40  Don Harrán, Word-Tone Relations in Musical Thought: From Antiquity to the Seventeenth Century.

        1st. ed.     1986
     xviii + 517 pp.
Bound copy temporarily out of stock.
Unbound 8.5x11(A4) offprint available.

MSD 40–POD   $74.00

Chapter 1. Word-Tone Relations: An Introduction   1
  Music and Language   1
  From Imitation to Text Placement   7
  Accentuation   10
  Word-Tone Relations: Definitions and Delimitations   16

Chapter 2. From Plato to the Church Fathers   22
  The Greeks on the Word-Tone Relation   22
  The Church Fathers   27
  Augustine   30
  On the Concepts of Adaptation and Propriety   34
  Gregorian Chant   39
  A Set of Instructions for Performing Chant   45

Chapter 3. From Guido D'Arezzo to Antonius de Leno    48
  Music and Language   48
  Rhythmic and Stylistic Distinctions   51
  Guido d'Arezzo   54
  Other Theorists on the Affinity of Words and Tones   57
  Antonius de Leno and the Earliest Writing on Text Placement (c. 1440)   67

Chapter 4. The Impact of Humanism   76
  Humanism   76
  The Problem of Word-Tone Relations   81
  The Humanization of Music   90
  Humanism and Renaissance   97

Chapter 5. From Rutgerus to Rossetti   102
  The Theory of Accented Singing   102
  An Early Singing Manual   108
  Rossetti and his Treatise: Preliminary Remarks   110
  Two Kinds of Relation between Words and Music   113
  Rules for Adapting Notes to Syllables   115
  The Requisites of Good Singing   123

Chapter 6.   Toward a Codification of Word-Tone Relations: Lanfranco   130
  On Lanfranco and his Writings   130
  The Scintille di musica as a Practical Manual   133
  On the General Relation between Notes and Words    136
  The Finer Rules of Word-Tone Coordination   143
  Lanfranco's Rules Considered at Large   151
  Del Lago and Others on the Word-Tone Relation   156

Chapter 7. The Generation of the 'Fifties: Coclico, Finck, Vicentino   161
  Musica poetica   161
  Coclico   164
  Hermann Finck   172
Vicentino   176

Chapter 8. Zarlino   189
  Music and Language   189
  On the Proprieties of Text Application   195
  Rules for the Alignment of Notes and Syllables   199
  Other Rules of Zarlino   209
  The Musico perfetto   214

Chapter 9. Stoquerus   218
  Stoquerus and his Treatise   218
  Music and Language   225
  The Rules and their Classification   230
  Compulsory Rules both Stated and Suggested   235
  The Optional Rules of Older Composers   243
  The Optional Rules of the Moderns   250

Chapter 10. Later Theorists from Padovano to Praetorius   259
  Padovano   259
  Pontio 260
  Tigrini   263
  Snegasius   266
  Calvisius   267
  Zacconi   273
  Bovicelli   276
  Morley   281
  Burmeister   284
  Cerone   289
  Banchieri   297
  Magone   299
  Praetorius   301

Chapter 11. Word-Tone Relations in Later Criticism   305
  Bellermann   306
  Quadflieg and his Pioneering Essay   309
  A Review of the More Recent Literature   315

Chapter 12. The Special Problem of Word-Tone Relations in Earlier Music: Latter-Day Solutions   325
  Vocal or Instrumental Performance   325
  Evidence of a Concern with Text Placement in the Practical Sources   330
  Rules of Text Placement in Earlier Music   336
  The Treatment of the Melisma   344
  Toward the Performance of Earlier Music   346
Appendix   360
Bibliography   461
  Primary Sources   461
  Secondary Literature   472
Index   490



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