research is centered on the modal polyphony of the Renaissance (before 1600), and is in
reaction to a generalized erroneous analytical approach influenced by an encompassing and
highly successful tonal system familiar to successive generations of musicologists. In the
words of the late music history professor, Egon. F. Kenton, in an unpublished
"Preface" to my book The Theory of Hexachords:
"What is so hard for us to do is to be reconciled to the thought that a four-part
structure is not in one key or mode, but that the single voices are in different
hexachords, living a life of their own. We must not only be reconciled to this thought, we
must--we should at least try to--choose the
proper hexachords and interlock them
automatically, just as we read a quartet score in three different clefs at the piano. The
conclusion of this book will make obsolete almost all our editions of historical music.
But a pioneer must always first destroy the jungle before creating a homestead. And this
is a pioneering book."
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