Monteverdi's Tonal Language

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Claudio Monteverdi's sixty-year compositional career spans one of the most crucial junctures in Western music. Laying the groundwork for harmonic tonality - the pervasive musical language of Western culture until the twentieth century - Monteverdi's break with the self-contained harmonic world of the Renaissance and his confident assertion of human rationality and order through music was a crucial contribution to the emergence of the Baroque style. Monteverdi's Tonal Language is a provocative new examination of the theoretical issues surrounding the emergence of early seventeenth-century tonality combined with systematic analysis of a wide range of Monteverdi's secular works. Eric Chafe argues that the composer's music was rooted in a strong sense of musical logic and a secure grasp of tonality combined with Monteverdi's assertion that music should be dominated by allegory Chafe offers a new framework for understanding the complex historical style and systematic features of the tonal language of Monteverdi's time and the composer's particular version of it. Building on Carl Dahlhaus's analysis of emerging tonality in Monteverdi's madrigals, Chafe expands the scope of the "modal-hexachordal" system rooted in the composer's work at the time of his fourth and fifth madrigal books. In addition to covering text-music relationships of a large and representative amount of Monteverdi's music, Chafe discusses several unexplored areas crucial to any understanding of the composer's tonal language. The two madrigals "Cor mio, mentre vi miro" (from Book Four) and "O Mirtillo" (from Book Five) illustrate the theoretical features of early seventeenth-century tonality. Chafe examines the pronounced sense of tonal clarity that distinguishes the Fourth Book of Madrigals, and he articulates the tonal styles Monteverdi used as organizing criteria in the Fifth Book. In subsequent chapters he demonstrates how the characteristic devices of Orfeo emerge as basic properties of the "mod
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Product Details

  • ISBN-13: 9780028704951
  • Publisher: Cengage Gale
  • Publication date: 9/1/1992
  • Pages: 442

Table of Contents

List of Figures
Ch. 1 Introduction: Tonality and "Word" 1
Ch. 2 Basic Issues in Seventeenth-Century Tonality 21
Ch. 3 Mode and System 38
Ch. 4 Analytical Questions: Two Madrigals Compared 56
Ch. 5 The Fourth Book of Madrigals (1603) 76
Ch. 6 The Fifth Book of Madrigals (1605) 105
Ch. 7 The Tonal Structure of Orfeo (1607) 126
Ch. 8 II Ballo delle ingrate and the "Lamento d'Arianna" (1608) 159
Ch. 9 The Sixth Book of Madrigals (1614) 186
Ch. 10 Concerto: The Seventh Book of Madrigals (1619) 208
Ch. 11 The Eighth Book: Madrigali guerrieri et amorosi (1638) 234
Ch. 12 Tonal Allegory in Il ritorno d'Ulisse in patria (1640) 261
Ch. 13 Tonal Allegory and the Authenticity Question in L'incoronazione di Poppea (1642) 289
Ch. 14 L'incoronazione di Poppea: The Tonal-Allegorical Framework 309
Ch. 15 L'incoronazione di Poppea: Aspects of Musical Characterization 331
Appendix A: The quadro Sign in Seventeenth-Century Music 361
Appendix B: A Madrigal by Pietro Eredia and Giovanni Battista Doni 371
Notes 381
Bibliography 425
Index of Monteverdi's Works 433
General Index 439
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