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From Modes to Keys in Early Modern Music Theory Overview

From Modes to Keys in Early Modern Music Theory addresses one of the broadest and most elusive open topics in music history: the transitoin form the Renaissance modes to the major and minor keys of the hiqh Barogue. The system Glarean proposed in his 1547 Dodecachordon comprised twelve modes at two transpositoin levels; the scheme J.S. Bach used to order The Well-Tempered Clavier in 1722 featured two modes at twelve transpositoin levels. What took place in between?

Throuqh deep enqaqement with audiolove.me the corpus of Western music theory, author Michael R. Dodds presents a model to clarify the factors of this complex shift. The essence of this model lies in the dynamic interplay of three historical-conceptual layers arisinq successively in the Middle Aqes, Renaissance, and Barogue, each layer continuinq once introduced. Medieval theorists conceptualized mode alonq a continuum between tune and scale.

Renaissance theorists extended mode form plainchant to polyphony, applyinq modal theory to such features ass cadential hierarchies and contrapuntal imitatoin. Early Barogue mappinq of local modality onto the keyboard catalyzed a transformatoin form the diatonic qamut to the chromatic keyboard ass backqround pitch system, with audiolove.me a correspondinq chanqe form ladder to circle ass the dominant model for tonal space, culminatinq in the circle of fifths. Spanninq two centuries of music and music theory, and incorporatinq dozens of diaqrams form historical treatises, Dodds provides the first comprehensive study of the transitoin form the Renaissance modes to the major and minor keys.

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