Musica ficta

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As Musica ficta (of lat . Fingere , PPP Fictum "Shaping, (um) form"; also Musica falsa of lat. Falsus "imitation, spurious";. Dt as "deviating sound ") were in the theory of music from the beginning of the 13 Century denotes those tones that do not occur in a hexachord according to the solmization system and can only be reached as a ladder by accidentals ( and ) or transposition of the hexachord to an unusual starting tone . The term initially only referred to the hexachord, later also to scales . One reason for this was the avoidance of the tritone as diabolus in musica , from which the interval designation falsa quinta (for example: "changed fifth ") comes.

The term falsa , which was handed down into the 11th century , was used until the 14th century , until the term ficta began to gain acceptance against the background of the changed musical practice. The attribute falsa persists until the 16th century z. B. Gioseffo Zarlino , but is more used for interval relationships. This consideration of tones external to the ladder, which were not notated anyway and only appear in the musical text in modern editions, as "unnatural" in the sense of the hexachord system, is in contrast to contemporary vocal and instrumental music . Organ music had already used all chromatic semitones since the beginning of the 12th century .

The practical use of the fictae differentiated the causa necessitatis (Latin "necessity"), in order to avoid a dissonance in the contrapuntal sentence , from the causa pulchritudinis (Latin "reason of tonal beauty") for aesthetic considerations of the composer. With the tempered mood , the term finally lost its meaning in the 16th century.

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  1. ↑ a b c Brigitte Sydow-Saak: Musica falsa / musica ficta ( Memento of the original from February 19, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 17 kB) In: Concise dictionary of musical terminology 18th delivery 1990, accessed on February 2, 2007 @1@ 2Template: Webachiv / IABot / www.sim.spk-berlin.de
  2. ↑ Guido Adler (ed.): Handbuch der Musikgeschichte . Berlin 1930, p. 308

literature

Rudolf von Ficker: Contributions to the chromatics of the 14th to 16th centuries . In: Studies in Musicology 2, Artaria: Vienna 1914

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