Skip to main content
Return to home
Publisher Logo: Click to return to the browse pagePublisher Logo: Click to return to the browse page
  • Home
  • Projects
Projects

The Affinities and Medieval Transposition

by Dolores Pesche

The concept of affinities, or pitch relationships, was fundamental to modal theory in the Middle Ages and the early Renaissance. For the first time, Delores Pesce brings together theoretical perspectives on this subject from the end of the ninth century to the middle of the sixteenth, spanning the ideas of Hucbald through Guido of Arezzo, Jacques de Liège, Marchetto of Padua, Tinctoris, and Aaron to those of Glareanus.


Pesce provides a comprehensive survey of problematic chants and of medieval solutions for them. She also traces the arguments that led to the rejection of the affinities and the acceptance of transposition in the modern sense. Scholars will find this volume invaluable for addressing issues related to modal classification and notational practices, in both chant and polyphony.

Project Hero Cover

Table of Contents

  • Cover
  • Title
  • Copyright
  • Contents
  • Dedication
  • Abbreviations
  • Introduction
  • I. From Hucbald To Guido: Origins Ofthe Concept
    • Hucbald’s De harmonica institutione
    • Musica enchiriadis and Scolica enchiriadis
    • Dialocms de musica
    • Berno’s Prolocrus in tonarium
    • Microlocrus and Epistolaby Guido of Arezzo
  • II. The Eleventh- And Twelfth-Century Commentators: Transposition and Transformation
    • Liber argumentorum and Liber specierum
    • Musica by Hermannus Contractus
    • Musica by Wilhelm of Hirsau
    • De musica by Aribo
    • Commentarius Anonymus in MicrolocrumGuidonis Aretini
    • The Leipzig Treatise
    • The Leipzig Tonary
    • Quaestiones in musica
    • Anonymous Wolf
    • De musica by John
    • The Cistercian Treatises
  • III. Hexachords: Seats of the Modes
    • A Treatise by Johannes de Garlandia
    • Tractatus de tonis by Petrus de Cruce
    • Practica artis musice by Amerus
    • Tractatus de musica by Magister Lambertus
    • Tractatus de musica by Jerome of Moravia
    • Speculum musicae by Jacques de Liège
    • Lucidarium by Marchetto of Padua
    • Quatuor principalia musicae
    • Cantuaqium by Heinrich Eger von Kalkar
    • Coussemaker’s Anonymous I
  • IV. Coniunctae or Transposition
    • The Berkeley Manuscript
    • Anonymous, Rome, Vatican lat. 5129
    • Anonymous XI
    • The Szalkai Treatise
    • Lectura by Petrus Tallanderius
  • V. The Rise of Octave Species Theory
    • Declaratio musicae disciplinaeby Ugolino of Orvieto
    • Liber de natura et proprietate tonorumby Johannes Tinctoris
    • De preceptis artis musicae by GuilielmusMonachus
    • Musices opusculum by Nicolaus Burtius
    • Practica musicae by Franchinus Gaffurius
    • Opus aureum musicae and Enchiridionmusices by Nicolaus Wollick
    • Musicae activae microlocrus by AndreasOrnithoparchus
    • The Writings of Pietro Aaron
    • The Writings of Martin Agricola
    • Scintille di Musica by Giovanni MariaLanfranco
    • Recanetum de musica aurea by StefanoVanneo
    • The Writings of Henricus Glareanus
  • Conclusion
  • Appendix A Discussion of PrincipalSedes According to Wilhelm
  • Appendix B Passages on “Transposition byNecessity”
  • Appendix C Chant Citations in Marchetto’sDiscussion of the Eight Modes
  • Appendix D Treatises by Johannes Cochlaeus,Venceslaus Philomathes and GeorgRhau
  • Notes
  • Bibliography
  • Index Of Chants
  • General Index

Metadata

  • isbn
    978-0-253-05573-6
  • publisher
    Indiana University Press
  • publisher place
    Bloomington, Indiana USA
  • restrictions
    CC-BY-NC-ND
  • rights
    Copyright © Trustees of Indiana University
  • rights holder
    Indiana University Press
  • rights territory
    World
Press Site
    • Log In
    • Projects
    • Home
    • Email
    • Twitter
    • Facebook
    • Log In
    • Projects
    • Home
    • Email
    • Twitter
    • Facebook
Copyright © Trustees of Indiana University. All rights reserved
Powered by Manifold