185: Michael R. Dodds (From Modes to Keys in Early Modern Music Theory)

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I speak to Professor Michael R. Dodds about his new book, "From Modes to Keys in Early Modern Music Theory", published by Oxford University Press.
"From Modes to Keys in Early Modern Music Theory" provides the first comprehensive study of the transition from the Renaissance modes to the major and minor keys of 18th-century music history. It proposes a model for the transition from modes to keys, illuminating the shift from vocal to keyboard ways of conceptualizing tonal space, and offers an in-depth survey of Western European music theory from the Middle Ages to 1800."
Michael R. Dodds is Associate Professor of Music History at the University of North Carolina School of the Arts. His callings as scholar, artist, and teacher are united by a life-long fascination with the conceptualization of tonal structures, especially in the contexts of sacred music. The story of Dodds as an artist is the subject of the 2023 documentary Blessed Unrest: A Composer's Awakening.
Readers can access the first chapter for free here: academic.oup.com/book/55156/c....
Readers may also use code AAFLYG6 for a 30% discount on the OUP website: global.oup.com/academic/produ....
From Professor Dodds:
"The second chapter, “A Brief Introduction to Modal Systems,” will be especially helpful for readers new to modal theory.
Interested viewers can also watch Blessed Unrest, a one-hour award-winning inspirational documentary by Bonnemaison about my story as a composer, including my childhood and youth in the Amazon and studies in musicology at the Eastman School, for $5 here: vimeo.com/ondemand/blessedunr.... The film also features Tony-winning actor Rosemary Harris and is framed by the metaphor of the labyrinth that also culminates my book-incredibly beautifully filmed.
I would very much welcome hearing from your audience with questions or comments!"
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🖥 For lessons, great in-depth articles, and resources on historic music pedagogy, visit the Hogan School of Music website:
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29 фев 2024

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Комментарии : 21

@rikbardyn5914 Месяц назад

Today I received the book! Happy, happy.. I start today reading it !!!!!!!! Thx a lot for this great work he has done !

@rikbardyn5914 2 месяца назад

I nearly have no words fir this truly deep and inspring interview ! What an eye and ear opener ! Thnk you 1000 X for this !

@grocheo1 5 месяцев назад

Oh my, this show is terrific. Another fantastic scholar sharing his work with us. Thanks you very much

@StephenJamesBell 5 месяцев назад

Interesting how many of these different ways of conceptualizing tonal space basically break down to our wish to impose how we think (linearly, in equal divisions) with how sound actually works (logarithmically, with unequal divisions). Circularity seems like the ultimate imposition of linear thinking onto a physical nature which in fact never repeats. I'm not suggesting that we don't need to do this in order to develop an understanding we can operate with, particularly at the practical level, but just that we probably also need to sidestep a lot of the ego that seems to accompany competing music theories, and just admit that while each may have it's utility, they are essentially all wrong - by which I mean, not exactly true. 🙂

@lerippletoe6893 5 месяцев назад

I bought this book and got through the excellent introduction about hermeneutics. What a treat to get an interview to set the stage for more reading!

@grocheo1 5 месяцев назад

I agree, same here. The book is very dense and this interview helps a lot

@lerippletoe6893 5 месяцев назад

@@grocheo1 I was reading about the same introductions to combinatoriality and these volvelles in Zoltan Goncz's book Bach's Testament, for his reconstruction of Contrapunctus XIV. I don't remember if he speaks English or if he had his book translated, but he would be another great interview here. That type of thinking, the mechanical calculation, generalization, combinatoriality, it seems Bach must have excelled in.

@tassosbenetatos3687 3 месяца назад

Another great interview! I can't wait to see what we'll see on your show if and when you get into Bruckner! He was supposedly a great improviser on the organ, one who wrote many motets in a neo-Palestrinian style, studied counterpoint with Simon Sechter, and his Symphonies are EPIC!

@tassosbenetatos3687 3 месяца назад

P.S Do you know if M.R. Dodd's book on modes is available in paperback format?

@lawrencetaylor4101 5 месяцев назад

Merci beaucoup. Very interesting.

@G.B.P. 5 месяцев назад

Amazing episode!!!

@grocheo1 5 месяцев назад

The wealth of knowledge of Mr. Dodds is unbelievable...

@LearnCompositionOnline 5 месяцев назад

Very important ❤

@rossharmonics 4 месяца назад

You'll find in Bach and Handel examples where the "accidentals" do not correspond to our modern concept of "key signatures". They follow Dodd's distinction between the Germans and the French.

@DancingPony1966-kp1zr 5 месяцев назад

I’m enjoying this discussion. I’ve studied bansuri and surveyed East Indian and mid-Eastern theories and it seems that they start with tetrachords. Then, they build their scales from the fouth below the tonic to the fourth above it. Which seems to make a lot of sense.

@frankdavies5182 Месяц назад

I would have been interested in a consideration of temperament as it affected the transition from mode to key - Pythagorean, mean tone, well tempered, equal. The modes were primarily for singing so pitch was relative, monody & intervals. With instruments pitch is absolute. The placement of semitones in a scale is critical so maj min 3 distinction made mi fa problematic. Ficta made the penultimate note a semitone & discussion of development of # key signatures & the note sensible/ leading note would be interesting. ( A late C15 Fleming devised 7 note solmisation}. Very interesting & entertaining discussion - still much left for another conversation but a prof Dodds in a panel of related experts could broaden the perspective?

@rossharmonics 4 месяца назад

Questions about heptatonic can be looked at in a variety of ways. The ancient Greeks considered it and utilized it. Classical Indian music did. However, it is often not a simple as that. But the point that I stress is that there needs to be (and that is my life's work) a system that stand outside of cultural contexts (to the degree can do it since so much of our cultural background in unconscious) in order to examine how musical systems work in a way that crossovers into other practices have a somewhat neutral foundation. These are all questions I have explored for decades,

@rossharmonics 4 месяца назад

I still have not received my copy of Dodds' book but I realize that I misunderstood what he said. Reframing his words, the Medieval conception of the Pythagorean tradition revolves around the symbol of the tetraktys, a symbol originating from the system of figurate numbers. This symbol was an equilateral triangle that had four dots on each side. The senarius of Zarlino was in reaction to that conception and not the actual conception of the Greeks that used a much wider range of models.

@rossharmonics 3 месяца назад

I have since received Dodd's book and his explanation there is more in line with my comment. The spontaneous explanation on the air left out the tetractys part of the medieval model. There is much more to be said but at another time.

@rossharmonics 5 месяцев назад

Look at the Greek treatises! They did not limit themselves to numbers 1 to 4. Many Renaissance theorists were aware of these.

@grocheo1 5 месяцев назад

Can I ask which ensemble is performing Bach's Concerto?