Adrian Willaert and the Theory of Interval Affect: The "Musica Nova" Madrigals and the Novel Theories of Zarlino and Vicentino (review)

In the 1550s, Vicentino and Zarlino outlined what Timothy McKinney calls the "theory of interval affect," according to which major and minor harmonic consonances measured from the lowest sounding voice may serve as tools for the expression of contrasting affects, especially in secular music. In particular, they recommended that "major harmonic consonances should be used to express affects such as happiness or harshness, while minor harmonic consonances should be used to express affects such as sadness or sweetness" (p. 41). Vicentino's and Zarlino's statements appeared in the treatises L'antica musica ridotta alla moderna prattica (1555) and Le istitutioni harmoniche (1558), respectively, and represented a novelty in sixteenth century theory, since until then intervals had been discussed only in relation to their quantity. Several scholars have highlighted the importance of these ideas. No one, however, has so far attempted to establish if and to what extent they were based on existing compositional practices. This is precisely the task that McKinney sets out to accomplish in this book. In particular, given Vicentino's and Zarlino's connections to Adrian Willaert, McKinney suggests that the latter's Musica Nova madrigals, most of which were likely composed around 1540, may have been at the origin of their theories.

McKinney's book consists of five chapters. In the first, he provides historical context and identifies a precedent for the expression of contrasting affects in the use of B durus and B mollis. In the second, he first outlines the theory of interval affect as presented by Vicentino and Zarlino, and then offers a preliminary demonstration that this theory may have been based on Willaert's practice in Musica Nova. In so doing, he uses the exordium of the madrigal Aspro core as an example. This demonstration is fully worked out in chapter 3, in which he analyzes a selection of madrigals from Musica Nova in great detail. In the remaining chapters, he extends his investigation to other madrigals by Willaert (chap. 4) and by composers in his orbit (chap. 5).

The first chapter, as well as the title of the book, may give the impression that Vicentino's and Zarlino's theories will play an equal role in the unfolding of McKinney's arguments. In the second chapter, however, McKinney points out that Zarlino's discussion of interval affect bears greater weight for two reasons. The first is that Zarlino's theory was overall more consistent and applicable to composition. Vicentino's, in contrast, was rather speculative, in line with the general spirit of his treatise. For example, Vicentino discussed microtonal melodic intervals at length, ascribing affective powers not only to their quality but also to their direction. The second reason is that Zarlino's relationship with Willaert is better documented. In addition, he admitted that his theoretical works were to a large extent based on Willaert's compositional practice.

The kinship between Willaert and Zarlino is apparent when comparing the opening of the former's madrigal on Petrarch's Aspro core with the latter's description of harsh harmony in Le istitutioni harmoniche. Willaert set the first line of the poem, "Aspro core, e selvaggio, e cruda voglia" (Harsh heart, and savage, and cruel will), predominantly to major sixths in long note values (semibreves). These move to perfect fifths through a descending motion in the upper voice, as in a suspension. This was exactly what Zarlino would recommend in his treatise, adding a music example that resembled very closely the opening of Aspro core. Willaert then emphasized the contrasting affect of the second line of the poem, "In dolce, humile, angelica figura" (In a sweet, humble, angelic figure), by setting it primarily to minor consonances, which would again become a tenet in the theory of interval affect.

The opening of the madrigal Aspro core represents...