Srednjovekovna teorijska određenja harmonske vertikale u muzici i njihov uticaj na renesansno učenje o kontrapunktu
Medieval Theoretical Conceptions of Harmonic Verticality in Music and Their Influence on Renaissance Counterpoint Doctrine

Summary/Abstract: This paper examines aspects of medieval theoretical thought concerned with the understanding of harmonic verticality in music, as well as their implications for the interpretation of contrapuntal issues in the 15th and 16th centuries. Over the course of this developmental process, the sonic properties of harmonic intervals were defined, principles for their interrelation and ordering were formulated, and the modalities for constructing polyphonic tonal structures through various intervallic combinations were clarified. The aim of this study is to analyse primary sources by medieval and Renaissance theorists in order to gain insight into the formation of a theory of modal polyphony, to identify the causal relationships among different stages of its development, and to shed light on the methodological trajectories that led to the establishment of the classical doctrine of counterpoint. The research reveals an evolutionary process in which new creative practices and theoretical strategies emerged through a strong reliance on earlier achievements. Based on the findings, it is possible to attain a deeper understanding of the continuity within the music-theoretical discourse and the factors that contributed to the formation of the contrapuntal tradition.

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