Tonal types and modal attributions in late Renaissance polyphony: new observations

摘要: There was a time, in the early nineties, when con cept of mode classical vocal polyphony?a concept apparently stated once and for all Bernhard Meier's studies only couple decades before1?seemed on verge breakdown, especially because Harold Powers' severe fundamental criticism, widely accepted most musicological world together with his new system classification repertoire by means "tonal types".2 However, as last ten to fifteen years have shown, that eventual breakdown never happened. Musicology has not dismissed mode?far from it, many scholars continue think "modality" is still useful tool analysis comprehension Renaissance music (as Cristle Collins ]udd reminds us introductory chapter Tonal Structures Early Music: significantly, "an informal Festschrift" Powers