From Modes to Keys in Early Modern Music Theory - Michael R. Dodds

Jul 31, 2026

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A scholarly study tracing how modal thinking evolved into key-based concepts in early modern Western music theory. The work presents a three-fold model for modal change, applies interpretive methods to competing modal systems, and examines Italian Renaissance tuoni, including differing ontological views and parameters of representation. It also analyzes Baroque church tones, the reduction of modes to two in French and German theory, and organizing schemes for tonal space between 1687 and 1722. It concludes with shifting concepts of tonal space through ladders and circles, supported by figures, examples, and indices.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages572

Reading Time24 h 1 min

AccessFree to download

Preface

A Brief Introduction to Modal Systems

Making Sense of Early Modern Modal Theory

The Tuoni in Italian Renaissance Music Theory

The Baroque Church Tones in Western European Music Theory

Toward two modes within the church tones

Two Modes

Organizing Schemes for the Two Modes, 1687–1722

Changing Concepts of Tonal Space

Musical Circles and Labyrinths

From Modes to Keys in Early Modern Music Theory [OceanofPDF.com](OceanofPDF.com) From Modes to Keys in Early Modern Music Theory MICHAEL R. DODDS [OceanofPDF.com](OceanofPDF.com) Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2024 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Control Number: 2023947333 ISBN 978–0–19–933815–3 eISBN 978–0–19–753487–8 DOI: 10. 1093/oso/9780199338153 .001.0001 [OceanofPDF.com](OceanofPDF.com) To Jane and our children: Frances, Julia, Laurel, Owen, and Sylvia, who have all shared in my writing of this book. [OceanofPDF.com](OceanofPDF.com) Quando la rota che tu sempiterni desiderato, a sé mi fece atteso con l’armonia che temperi e discerni, Parvemi tanto allor del cielo accesode la fiamma del sol, che pioggia o fiume lago non fece alcun tanto disteso. La novità del suono e‘l grande lumedi lor cagion m’accessero un disio mai non sentito di cotanto acume. Dante, Paradiso I.76–84 When the heavens you made eternal, Wheeling in desire, caught my attention With the harmony you temper and attune, Then so much of the sky seemed set on fire By the flaming sun that neither rain nor river Ever fed a lake so vast. The newness of the sound and the bright light Lit in me such a keen desire to know their cause As I had never with such sharpness felt before. Verse translation by Robert Hollander and Jean Hollander [OceanofPDF.com](OceanofPDF.com) Contents List of Figures List of Musical Examples List of Tables Preface Acknowledgments 1. A Model for Change in Modal Theory and Practice Toward a model for change: the challenge A hermeneutic approach A three-fold model for modal change Structure of this book 2. A Brief Introduction to Modal Systems The eight modes and the medieval pitch-system The twelve modes The twelve modes after Glarean and Zarlino The church tones The major and minor keys 3. Making Sense of Early Modern Modal Theory Modal systems in competition A three-fold model for change in modal theory The model applied 4. The Tuoni in Italian Renaissance Music Theory Four views on the ontology of the tones View 1: The tones are manifestations of their respective modes View 2: The tones parallel the modes, but differ in essence 5. The Baroque Church Tones in Western European Music Theory How theorists viewed the church tones: views 3 and 4 Tonalities of the church tones Parameters of representation Banchieri’s tuoni ecclesiastici Parameters of representation after Banchieri Toward two modes within the church tones 6. Two Modes Reducing the modes to two in French theory Reducing the modes to two in German theory Mode as abstract scale: syllabic vs. numeric representation Modal models for major and minor 7. Organizing Schemes for the Two Modes, 1687–1722 Stepwise by final By type of key, then stepwise by final By increasing key signatures and/or fifths Conclusion 8. Changing Concepts of Tonal Space Conceptualizing tonal spac

FAQs

What is the central framework for modal change in the book?

The author develops a three-fold model for modal change and tests it through an interpretive approach applied to competing modal systems.

How does the book treat Italian Renaissance tuoni?

It presents four views on the ontology of tones and discusses how tones relate to their respective modes, including differences in essence and parallel structure.

How is tonal space conceptualized across later sections?

The text moves from ladders to circles, showing how conceptual models for tonal space change and how individual modulatory pieces reflect those shifts.

Jul 31, 2026

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