HOW CONTROVERSIES ARISE (AND WHAT THEY REVEAL)
The essential difference between these two concepts of pitch organization, the radic-alness of the change from the one form of cadential articulation to the other and the implications of that change, remain matters of debate among historians. They can be (and have been) tendentiously exaggerated, and also tendentiously minimized. Clearly, though, whatever the eventual implications of the V-I bass, its fifteenth-century introduction (like many other retrospectively momentous turning points in music history) was no conscious revolution. To call “tonality” a radical break with past thinking, an inspired invention, or (most telling of all) an unanticipated, world-transforming discovery is clearly to borrow without critical reflection from that all-embracing concept of the “Renaissance” that, unless vigilantly examined, can all too easily prejudice the study of fifteenth-century music.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 12 Emblems and Dynasties. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 12 Emblems and Dynasties." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-012006.xml