Tra otto e dodici modi: il sistema non esplicito a dieci modi

Abstract

In the 16th century, modal theory took the form of a number of systems that varied in order and number. The traditional system inherited from the Middle Ages consisted of 8 modes beginning on D, but under the influence of Glarean (1547) and above all Zarlino (1558 and 1571), the number of modes was increased to 12 in two possible orders on C or on D. However, study of the repertoire reveals the existence of an additional system built on a set of 10 modes, adding yet more confusion produced by the cohabitation of all these systems. This specificity of the repertoire seems to indicate that some composers are pragmatically seeking a kind of compromise between the traditional 8 modes system, which has become too narrow, and the 12 modes system, which is impracticable in its entirety. So far, six works printed between 1582 and 1650 by five Franco-Italian composers based on this system have been identified; but this is not a univocal system: most of these authors propose an original and personal reading of this set, raising numerous questions of interpretation. The aim of this article is to present the different versions of these 10 modes, in order to understand how the authors understood another form of the completeness of the modal system.