From Renaissance to Baroque: Tonal Structures in Tomás Luis de Victoria’s Masses

Abstract

This article presents an analytical study of Tomás Luis de Victoria’s masses. Following the criterion that the definition of mode by a composition’s final (the external view of mode) and the examination and understanding of mode through an entire musical composition (the internal view of tonal structure) can combine and be reconciled to give us a fuller understanding of a composition’s tonal design, I examine external and internal evidence (the former represented by tonal types, and the latter by cadential schemes and melodic structures) in all twenty authenticated masses by Victoria. I also call attention to a significant stylistic change in Victoria’s five polychoral masses. Various aspects of texture, meter, and text setting in these late works point at a shift toward Baroque compositional practices, as do elements of Victoria’s harmonic syntax.

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