On the Sensations of Tone As a Physiological Basis for the Theory of Music

Cover On the Sensations of Tone As a Physiological Basis for the Theory of Music
On the Sensations of Tone As a Physiological Basis for the Theory of Music
Hermann Von Helmholtz
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Hence Pales- trina was certainly acquainted with this mode of treatment, through his teacher, but he had to deal with themes from the Gregorian Cantus firmus that moved in ecclesiastical tones, which he was forced to maintain strictly even in pieces where he himself invented or adapted the melodies. Now these modes necessitated a«T totally difterent harmonic treatment, which sounds very strange to moderns. As a specimen I will only cite the commencement of his eight-part Stahat mater.
BE ee: E-
...i: 1 Sta - bat Here, at the commencement of a piece, just where we should require a steady characterisation of the key, we find a series of chords in the most varied keys, ^ from A major to F major, apparently thrown together at haphazard, contrary to all our rules of modulation. What person that was ignorant of ecclesiastical modes could guess the tonic of the piece from this commencement ? As such we find D at the end of the first strophe, and the sharpening of C to Cn in the first chord also points to D.

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