Dorindi Madrigal Analysis

Good Essays
When comparing Claudio Monteverdi’s compositional techniques in his madrigal “Dorinda, ah dirò” to what was traditionally expected in the prima practice, one notices a nonchalant treatment of dissonances, as well as an overall quickened sense of rhythm and far too many liberations in melodic writing. While observing Monteverdi’s madrigal, one notices several instances of note-against note dissonances. The first instance (example 1.1) displays dissonances of a seventh and a ninth between the canto and the bass voice. This harsh head on charge into the unpleasantness is forbidden in counterpoint practice. Instead, on should consider the correction in example 1.2. By lengthening the measure into two, giving the canto line a smoother transition …show more content…
The first noticeable instance (example 3.1) starts off with a beautifully executed approach to two simultaneous suspensions; however, instead of following prima practice rules and resolving down immediately after, Monteverdi holds on to the suspension for two more beats. This highly emphasizes the non-sonorous intervals. This can be adjusted however, by merely moving down to the anticipated resolution and then merely moving to sonorous intervals subsequently (example 3.2). The next two iterations both display the same issue, a successive leap after a dissonance suspension. The first exhibits a smooth lead into the suspension with the lowest voice purely moving down a semitone, creating a seventh with the upper voice (example 4.1). The problem occurs whenever the top voice furiously leaps down a fifth. There is no excuse for this execution, for the expected resolution to C could have been used without dispute (example 4.2) The final figure is slightly more forgivable, as the seventh suspension between the outer voices could not have been resolved simply by step, as that would cause another dissonance with the other voices (example 5.1). The solution would have to be to throw out the problematic suspension all together, and have the soprano merely move by

Related Documents

  • Decent Essays

    Sinfonia Analysis

    • 1173 Words
    • 5 Pages

    But the treble, accompanied by a walking bass, lacks the improvisatory qualities of an embellished adagio and move somewhat faster. It ends by dissolving into a short written-out cadenza that is an ornamented cadence. The sinfonia closes with a real fugue in two voices. The figuration is so rich in harmonic implications that the two parts suffice to suggest an orchestral texture. The fugue subject belongs to a type that is composed out of a single dominant chord.…

    • 1173 Words
    • 5 Pages
    Decent Essays
  • Decent Essays

    Instead of his music consistently informing itself, Rossini’s “melody...breaks off after a few bars instead of being prolonged into the infinite” (Dahlhaus, 1991, p.60). Rossini’s tendency to essentially repeat himself was not only seen in the organization of his works, but also in the use of certain melodies across works. Rossini often plagiarized himself, borrowing from “works that failed to circulate” or inserting melodies into works “that were not expected to circulate”, and this “practice of self-borrowing [was] often sharply censured by critics” (Senici, 2013, p.248). This practice was common among opera composers at the time and it is difficult to determine if Rossini self-plagiarized more than his contemporaries. The act of reusing material immediately went against romantic…

    • 1544 Words
    • 7 Pages
    Decent Essays
  • Decent Essays

    Again, Keiler argues against this claim, saying the distortion of pitches becomes even greater for non-Western music. Bernstein claimed that the harmonic series can explain Javanese slendro music, since this is pentatonic scale-based. Keiler openly rejects this view, stating, “There is absolutely no relationship of intervallic content between this scale and the overtone series” (Keiler, 208). Not only do the exact pitches of the scale and the overtone series vary immensely, but the slendro scale is different between gamelans. With more of a melodic contour basis than exact pitch basis, Javanese slendro scale falls far outside of the harmonic series explanation.…

    • 1809 Words
    • 8 Pages
    Decent Essays
  • Decent Essays

    A reminder that the performer had the discretion to omit dances if he or she so desired. This first courante features some interesting chromaticism, including an unexpectedly dissonant chord in the next-to-last measure of each section: a dominant seventh chord in the right hand over the third of the chord to which it will resolve in the bass.…

    • 307 Words
    • 2 Pages
    Decent Essays
  • Decent Essays

    A shortfall exists because in classical sonata form, there are multiple themes that get introduced in the exposition; usually in a different key. While Lady Gaga’s “Poker Face” is very similar to the sonata form, as it clearly has an exposition, the complication comes from the fact that there is no noticeable key…

    • 774 Words
    • 4 Pages
    Decent Essays
  • Decent Essays

    Dual Polymodality

    • 817 Words
    • 4 Pages

    Composers and scholars have not agreed on what each term exactly means, and its scope. Perhaps as a result of its wide acceptance, the term polytonality lacks accuracy as a descriptive category. Béla Bartók’s explanation of both this terms, is one of the most radically different to the rest of composers and scholars. For him, the difference relies in the amount of tonal centers. While polytonality must have two or more tonal centers with identical or different scales, polymodality needs only one tonic and different modes, as he observes To point out the essential difference between atonality, polytonality, and polymodality in a final word on this subject, we may say that atonal music offers no fundamental tone at all, polytonality offers or is supposed to offer several of them, polymodality offers a single one.…

    • 817 Words
    • 4 Pages
    Decent Essays
  • Decent Essays

    My ranking is least favorite to most favorite with the exception with Varese poem Electronique and John Cage sonatas and interlude I could not figure out which I like the less, so I decided to place both at the bottom of the list. This period was not my favorite period so the musical choices I had was not very appealing. Varese 's Poem Electronique concept of using different noise to compose music was very intriguing and exciting but the execution of this concept was disappointing as it had no rhythm, not much of a beat there was aspect that were promising that if it would incorporated some tradition aspect of music such as instrument or some melody that it could been enjoyable but really felt like a bunch of noise put together. John…

    • 1327 Words
    • 5 Pages
    Decent Essays
  • Decent Essays

    The piece then goes on to follow Sonata structure until the very end, where the Grave section is repeated again as a coda. This sets this piece apart from other Sonatas because most Sonatas do not have this coda section at the end. This piece is called the Pathetique Sonata not because it is “pathetic” per say, but because there is a major contrast in emotions in different parts of the piece. This means that there are some major sections that are contrasted with minor sections. This is especially apparent in the Grave introduction section.…

    • 812 Words
    • 4 Pages
    Decent Essays
  • Decent Essays

    17 No. 1 The percussive figuration in Sarcasms No. 3 in Ex. 3.3.1 is led by the repetition of a minor third, which creates a mood of uncertainty because the key is not determined. The opening of this piece shows that the left and right hands play in the…

    • 835 Words
    • 4 Pages
    Decent Essays
  • Decent Essays

    Since 1924, many critics found it inevitable to decline Wilson’s label of F. Scott Fitzgerald’s first novel as “a phantasmagoria of incident that had no dominating intention to endow it with unity and force. In short, one of the chief weaknesses of This Side of Paradise is that it is really not about anything: its intellectual and moral content amounts to little more than a gesture—a gesture of indefinite revolt.” (The Shores of Light) But This Side Paradise does consist of a unity and force; and in it comes in the form of an Impressionistic musical piece in a Sonata structure, which consists of an Exposition, Development, and Recapitulation. The story of Amory Blaine reflect a classical structure within the two subtitle books, connected by a short interlude, is organized in generally analogous and parallel…

    • 1094 Words
    • 5 Pages
    Decent Essays