In this research paper I am going to discuss the feature of Madrigals including the use of style, voices, Harmony, Melody, Texture, word painting, thematicism and tonality that are demonstrated by Claudio Monteverdi in his piece “Ohimè, se tanto amate”. Monteverdi is one of the most important musician around late 16th- and early 17th-century in Italy, he has had the reputation of being above all else a Modern, a breaker of rules, against the Ancients, those who deferred to ancient authority. Of course he is most famous for writing the first opera L’incoronazione di Poppea but before he started working on Operas, Monteverdi spent 30 years in his career as a madrigal composer, the nine books of madrigals pubished by him consolidated his achievement.
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It is a secular work, which means it was not used for religious purposes (worship). The typical form of Madrigal is between two and six parts for mixed voices and generally unaccompanied by instruments. prima prattica and seconda prattica are terms that were used in the early 17th century to describe two different ‘practices’ in music by Artusi in Seconda parte dell 'Artusi (1603). The term occurs in reference to the practice of rising after a flattened note and descending after a sharpened one. Through the developmental trait of Madrigal the new Seconda Prattica style was introduced by Monteverdi.The most important composers involved at the outset were Marenzio, Luzzaschi and Gesualdo. In contrast to prima prattica, which the leading composers were Palestrina and Zarlino which the words are less important than the music in another word, the words were working for the music. And needed to follow strict and percise rules throughout the composing which the composer must write in polyphonic textures and the use of harmony must be appropirate, meaning that all the dissonance had to be prepared, executed and released in a linear manner and vocal settings did not make vivid painting of the texts, as a result, was often extensively …show more content…
Because one of the key feature of seconda prattica is to emphasis on the texts and this piece consists of highly syllabic text setting and very little melismatic text seting, which means that each syllable of a word is broken up and assigned to a single note, which helps the performer to pronounce the each word better which will bring a greater clarity to the text for the audience to hear and emphasis on the natural speech rhythm to make it sounds more natrual.
Text painting is a very significant component of seconda prattica music style as it uses music to make the texts stand out. The concept of “text painting” means to use musical techniques such as leaps and dissonance to reflects the emotion the texts want to express. In general, the word “pain” is always illustrated by a descending melodic line or an unprepared dissonance because it creates a sense of distortion. And In this particular piece the word “ohimè” which is an expressive word like “ah!” at the very beginning of the piece, adopted the use of a descending 3rd which gives us a sense of sadness making the audiences feel the uncomforting in this word as well. Also the same interval has passed around between 4 voices mimicking an echo effect, it is applied to enhance the sadness effect by repetition as
It is a secular work, which means it was not used for religious purposes (worship). The typical form of Madrigal is between two and six parts for mixed voices and generally unaccompanied by instruments. prima prattica and seconda prattica are terms that were used in the early 17th century to describe two different ‘practices’ in music by Artusi in Seconda parte dell 'Artusi (1603). The term occurs in reference to the practice of rising after a flattened note and descending after a sharpened one. Through the developmental trait of Madrigal the new Seconda Prattica style was introduced by Monteverdi.The most important composers involved at the outset were Marenzio, Luzzaschi and Gesualdo. In contrast to prima prattica, which the leading composers were Palestrina and Zarlino which the words are less important than the music in another word, the words were working for the music. And needed to follow strict and percise rules throughout the composing which the composer must write in polyphonic textures and the use of harmony must be appropirate, meaning that all the dissonance had to be prepared, executed and released in a linear manner and vocal settings did not make vivid painting of the texts, as a result, was often extensively …show more content…
Because one of the key feature of seconda prattica is to emphasis on the texts and this piece consists of highly syllabic text setting and very little melismatic text seting, which means that each syllable of a word is broken up and assigned to a single note, which helps the performer to pronounce the each word better which will bring a greater clarity to the text for the audience to hear and emphasis on the natural speech rhythm to make it sounds more natrual.
Text painting is a very significant component of seconda prattica music style as it uses music to make the texts stand out. The concept of “text painting” means to use musical techniques such as leaps and dissonance to reflects the emotion the texts want to express. In general, the word “pain” is always illustrated by a descending melodic line or an unprepared dissonance because it creates a sense of distortion. And In this particular piece the word “ohimè” which is an expressive word like “ah!” at the very beginning of the piece, adopted the use of a descending 3rd which gives us a sense of sadness making the audiences feel the uncomforting in this word as well. Also the same interval has passed around between 4 voices mimicking an echo effect, it is applied to enhance the sadness effect by repetition as