From Phrase Structure to Form

The balletto unfolds on a uniquely small scale: many balletti can be performed in less than a minute. The genre’s brevity supports a number of perceptual benefits that train listeners to attend to tonal dynamics at multiple scales. The shortest balletti lie at the perceptual limit for entraining hypermeter and within the boundary for remembering tonic. Dynamic attending theory posits that periodic cadences correspond with peaks of attention, facilitating comparison of distant harmonic events. The balletto’s repeat structure fosters a deeper knowledge of tonal and formal procedures, and repetition directs attention to larger groupings. Together, these principles enabled listeners to identify important harmonic events, compare them across broad time spans, and associate them with specific formal units. Furthermore, a comparison of Italian, English, and German balletti reveals important regional differences in tonal and harmonic norms, illustrating how English composers, especially Thomas Morley, maximally leveraged the genre’s profound perceptual benefits.