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In spite of his abundance of sources, but also because of his numerous contradictions and lack of sufficient and constant evidence, the relation between the effects that the music can cause and the own character of the different modes forms a part of the musical western theoretical and practical reality from the Middle Ages up to the Baroque. The principal contribution of Pedro Cerone, one of the few followers in Spain of Zarlino´s twelve modes theory, is the commemorative logician of needing together to cause such effects, besides the corresponding modality, to have also adapted rhythm or meter patterns, a good text and a suitable listener. If the fi rst thing and the third thing enjoys certain tradition and sources, the second thing turns out to be still a suggestive mystery for future investigations. And the fourth and last thing, according to Cerone, in order that the music does effects, the ready well listener, forces us to change radically the receipt of this repertoire.

La modalidad polifónica y sus efectos en tiempo de las <em>Obras...</em> de Antonio de Cabezón: la aportación de Pedro Cerone