Readings

 

 

Christensen, Thomas. "Music Theory in Clio’s Mirror.” In Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, edited by Thomas J. Mathiesen, 1– 19. Lincoln: University of Nebraska Press, 2002.

 

Burnham, Scott, "Musical and Intellectual Values: Interpreting the History of Tonal Theory," Current Musicology 53 (1993), 76–88.

 

Guiseppe Zarlino, The Art of Counterpoint , Part III of Le Istitutioni harmoniche, 1558. Trans. Guy A. Marco and c. V. Palisca. New Haven: Yale University Press, 1968; N.Y.: w. w. Norton, 1976; N.Y.: Da Capo Press, 1983. *Especially III, 42, pp. 91-102.

 

James Haar, "Zarlino's Definition of Fugue and Imitation," Journal of the American Musicological Society 24/2 (1971), 226-254.

 

Jairo Moreno, "Zarlino: Instituting Knowledge in the Time of Correspondences," Musical Representations, Subjects, and Object: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber Bloomington: University of Indiana Press, 2004, 26-49.

 

Claude V. Palisca, The Ancient Musica Speculativa and Renaissance Musical Science, Humanism in Italian Renaissance Musical Thought New Haven: Yale University Press, 1985, 226-279.

 

Claude V. Palisca, Greek Tonality and Western Modality , Humanism in Italian Renaissance Musical Thought, 280-332.

 

Claude V. Palisca, The Poetics of Musical Composition, Music and Ideas in the Sixteenth and Seventeenth Centuries, Urbana and Chicago: University of Illinois Press, 2006, 49-69.

 

Megan Kaes Long, How We Got into Harmonic Tonality, and How to Get Out, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century, Oxford: Oxford University Press, 2020, 1-23.

 

Megan Kaes Long, Humanism snd the Invention of Homophony, Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century, 203-248.